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Edition  of  200  copies,  of  which  this  is 


Catalogue 

Biographical  and  Descriptive 

of  the 

COLLECTION  OF  PICTURES 

Pf  indpally  of  the 

English  School 

-  ■  ^  of 

> 

R»  Hall  McCormick,  Esq* 
CHICAGO 


\ 


coPYRiGHreo 

8Y  K  HALL  MoCORUICK 
A.  0,  1897. 


THE  J.  PAUL  GriTY  MUSEUM  LIBRARY 


PREFACE. 


In  the  preparation  of  the  following  brief  notes,  an  attempt  has 
been  made  to  draw  particular  attention  to  the  peculiarities  of  style 
which  have  marked  the  painters  who  have  occupied  the  foremost 
rank  among  British  artists. 

For  in  the  school  of  Art,  as  in  the  school  of  letters,  the  law 
of  progress  has  necessitated  the  development  of  certain  qualities, 
which,  in  their  exaggeration,  become  faults,  but  under  the  chisel  of 
time  and  criticism  are  hewn  into  stones  for  the  temple  of  beauty, 
which  is  the  temple  of  Truth. 

True  it  is,  that  for  very  long  it  was  held  as  an  article  of  artist 
faith,  that  art  was  congenial  neither  to  English  soil  nor  to  English 
nature.  Against  this  prejudice  English  painters  struggled  long, 
and  this  accounts  for  the  fact,  that  in  the  early  history  of  Art  those 
men  who  obtained  fashionable  patronage  were  for  the  most  part  rep- 
resentatives of  foreign  schools.  They  brought  in  artificiality  in  lieu 
of  truth,  allegory  in  lieu  of  reality,  until  the  sturdy  English  mind  freed 
itself,  and  found  expression  in  the  realistic  productions  of  Hogarth. 

The  new  impulse  was  immediately  felt  in  portraiture.  Sir 
Joshua  Reynolds  dared  to  break  away  from  dreary  repetitions,  and 
to  paint  his  sitters  just  as  he  found  them,  in  those  chance  attitudes 
which  are  ever  truly  characteristic;  and  with  him  arose  Gains- 
borough and  Romney,  who  treated  their  subjects  with  a  breadth 
and  simplicity  unknown  before  this  revival.  Even  Sir  Thomas 
Lawrence  and  those  who  came  after  him,  not  as  imitators,  but  as 
rivals,  while  their  works  lack  much  of  the  richness  of  their  prede- 
cessors, yet  had  this  good  influence  upon  the  school,  that  they 
encouraged  more  careful  drawing  and  study  of  the  head. 

The  influence  of  Hogarth's  struggle  was  felt,  morever,  indirectly 
in  the  realm  of  landscape  painting,  and  it  was  reserved  for  Wilson, 
Reynolds  and  Gainsborough  to  verify  by  their  works  the  assertion 
of  Reynolds,  that  "the  skill  and  genius  of  the  landscape  painter  is 
displayed  in  showing  the  general  effect,**  so  that  *'the  power  of  the 
whole  may  take  possession  of  the  mind,  and  for  a  while  suspend 


the  consideration  of  the  subordinate  beauties  or  defects."  Much  of 
this  generalization,  too,  is  noted  in  the  works  of  Turner,  who 
sought  to  give  the  impression  rather  than  to  render  imitatively. 
*^He  treated  his  work  from  the  beginning  as  a  whole,  adding 
just  as  much  detail  in  the  parts  as  was  consistent  with  the 
general  effect  and  that  sense  of  mystery  which  he  ever  studied 
to  preserve."  Yet,  so  far,  no  English  landscape  artist  had  been 
emancipated  from  the  influence  of  the  foreign  schools;  Gains- 
borough, English  though  he  was  in  almost  every  phase  of  his 
art,  was  not  clear  of  the  dark  masters  and  the  'brown  tree* 
school;"  Morland  was  a  Dutchman  in  subject  and  in  the  mode 
of  composing  his  pictures,  although  by  his  effort  after  the  truthful 
delineation  of  everyday,  commonplace  surroundings  he  showed 
that  there  was  a  store  of  subjects  in  English  scenery  and  a  public 
to  appreciate  them;  Crome,  while  his  more  important  works  show 
a  great  breadth  of  treatment,  largeness  of  manner  and  breadth 
of  execution,  yet  built  upon  Ruysdael  and  Hobbema.  Even 
Turner  in  his  earlier  days,  at  least,  showed  the  influence  of 
Claude  and  Poussin,  but  when  we  come  to  Constable  we  find 
one  whose  art  is  thoroughly  and  purely  English, —  not  alone  in 
treatment  and  execution,  but  also  in  subject  and  feeling.  "He 
was  the  forerunner  of  the  race  of  artists  who,  about  the  period  of 
his  mid-career,  began  to  rely  on  their  own  impressions  of  Nature 
in  the  treatment  of  their  subjects."  There  can  be  therefore  no 
doubt  that  Constable  had  great  influence  on  the  landscape  art, 
both  of  his  own  country  and  France,  inducing,  as  he  did,  a 
candid  acceptance  of  Nature. 

For  this  reason  it  has  been  said  that  the  nature  of  English  habits 
and  the  independence  of  English  character  are  favorable  to  art 
progress,  for  each  man  loves  to  think  for  himself.  Unquestionably 
this  individual  thought  has  been  the  secret  of  all  advance  in  the 
past,  since  it  has  meant  the  rejection  of  all  that  is  artificial  for  that 
which  is  true.  To  us,  therefore,  is  borne  down  from  the  lips  of 
those  who,  artists  or  poets,  have  thus  continued  to  seek,  the  message, 

''Hold,  in  high  artistic  duty, 
Truest  Truth  the  fairest  beauty." 

K.  A.  H. 


Note. 


In  the  preparation  of  the  following  brief  sketches,  helpful  infor- 
mation has  been  derived  from  "A  Century  of  Painters/'  by  Richard 
and  Samuel  Redgrave;  Bryan's  "Dictionary  of  Painters  and 
Engravers"  and  others. 

To  all  such  a  grateful  indebtedness  is  hereby  expressed. 


K.  A.  H. 


INDEX. 


Hoooner. 

Riley. 

Inman. 

Romney. 

BoninP'ton. 

Inskipp. 

Rotari. 

Callcott. 

Janssens. 

Rubens. 

Collins. 

Kneller. 

Seamen. 

Constable. 

Landseer. 

Smirke. 

Cotes. 

Lawrence. 

Stanfield. 

Cotman. 

Leiy. 

Stark. 

Crome. 

Linnell. 

Stothard. 

Dawson. 

Linton. 

Stuart. 

Dyck,  Van. 

Mason. 

Turner. 

Etty. 

Mierevelt. 

Verbocckhovcn. 

▼    SrX  h^^/W%rX^X            T  ^pXX* 

▼  ill-will* 

Gainsborough. 

Mueller. 

Watts. 

Goyen,  Van. 

Nasmyth. 

West. 

Herring. 

Opie. 

Wilkie. 

Hogarth. 

Phillips. 

Willcock. 

Holbein. 

Raeburn. 

Wilson. 

Reynolds. 

Holbein^  Hans^ 

J497-I543. 


Hans  Holbein  came  of  an  artist  family,  and  obtained  his  first 
training  in  the  studio  of  his  father,  Holbein  the  elder.  He  was 
born  in  Augsburg,  and  educated  in  Basle,  where  he  formed  a 
friendship  with  Erasmus,  and  early  showed  his  singular  ability  for 
caricature,  in  the  pen-and-ink  illustrations,  which  he  furnished  for 
^*The  Praise  of  Folly."  This  intimacy  with  Erasmus  resulted  in  an 
invitation  from  Henry  VIII.  for  the  painter  to  visit  England.  A 
friendship  was  quickly  formed  with  Sir  Thomas  More,  for  whose 
Utopia"  (published  in  Basle  in  1 51 8)  Holbein  had  already  supplied 
the  engravings.  With  the  exception  of  a  short  period  spent  in  Basle, 
the  remainder  of  his  life  was  passed  in  England,  where,  in  1536,  he 
was  appointed  Court  Painter  to  Henry  VIII.,  with  whom  he  stood 
in  high  favor,  until  his  death,  at  the  age  of  forty-six. 

While  Holbein  is  unsurpassed  in  many  of  the  high  qualities  of 
portrait  art,  he  is  no  less  distinguished  for  the  originality,  variety, 
and  power  of  his  designs.  His  portraits  are  strong  and  vigorous, 
and  his  coloring  marvelously  rich  and  harmonious.  His  life-work 
gave  a  lasting  impetus  to  art  in  England. 


HOLBEIN.  HANS, 


Portrait  of  Sir  Henry  Guildford* 


From  a  background  of  deep  rich  blue,  relieved  by  a  curtain  of 
luminous  green  to  the  right  and  sprays  of  ivy  to  the  left,  there  looks 
out  the  strong  face  of  a  man,  clad  in  the  costume  of  the  days  of 
Bluff  King  Hal."  The  flat  black  cap  rests  at  an  angle  upon  the 
forehead,  with  its  fine  dark  brows.  The  eyes  are  keen  and  piercing, 
the  nose  aquiline,  the  mouth  firmly  set,  with  long  deeply  marked 
upper  lip,  the  chin  square  and  parted  by  a  cleft.  All  the  details  of 
the  picture  are  carefully  worked  out.  Dashes  of  red  are  added  by 
the  collar  of  the  Order  of  the  Garter,  which  rests  upon  the  cape  of 
black  velvet,  with  its  heavy  sable  collar  and  its  doublet  and  sleeves 
of  yellow  brocaded  satin. 

In  the  left-hand  upper  corner  of  the  picture  is  a  white  scroll 
bearing  in  Latin  the  date  **\527/*  and  the  word  **Aetatis — " 

Panel.  Size  \6}4  xl3}(. 


HANS  HOLBEIN.  ,  Pa"<=l  '^K  ^ 


SIR  HENRY  GUILDFORD 


Mierevelt^  Michael  Janszcn^ 

1567- I64I. 


Studied  historical  painting  under  Blocklandt  in  Utrecht.  His 
first  work  was  a  series  of  altar  pieces  for  the  church  in  that  town, 
but  his  success  in  portraiture  was  so  marked  that  he  adopted  that 
as  his  profession.  He  is  said  to  have  been  invited  by  Charles  I. 
to  visit  England,  but  declined  to  do  so  on  account  of  the  preval- 
ence of  the  plague. 


MIEREVELT.  MICHAEL  JANSZEN, 


Portrait  of  a  Young  GirL 


While  the  general  tone  of  this  picture  is  dark,  the  coloring  of 
the  face  is  rich  and  warm,  the  rosy  tint  of  the  cheeks  enhancing 
the  brightness  of  the  large  brown  eyes.  The  auburn  hair,  drawn 
back  from  a  high  forehead,  is  worn  in  a  coil.  The  decollete  black 
gown  is  relieved  by  the  full  sleeves,  slashed  with  white,  by  the 
elaborate  lace  collar,  which  stands  out  far  behind  as  a  stiff  ruff, 
and  by  the  heavy  gold  chain,  which,  after  encircling  the  girl's 
shoulders,  falls  to  her  waist  in  front. 

Panel.  Size  26x21. 


PORTRAIT  OF  A  YOUNG  GIRL. 


Rubens*  Peter  Paul, 

June  29,  1577- May  30,  1640. 


A  native  of  Westphalia.  When  only  thirteen  years  of  age  he 
entered  upon  the  serious  study  of  art  under  Verhaeght,  a  land- 
scape painter.  After  traveling  in  Italy  he  settled  in  Antwerp  in 
1608  and  was  appointed  Court  Painter  to  the  Archduke  Albert. 
He  was  not  only  an  artist,  but  also  a  diplomatist,  being  entrusted 
with  political  missions  for  the  Spanish  government,  which  he  suc- 
cessfully accomplished.  Yet  his  art  was  ever  supreme.  In  the 
middle  period  of  his  life  he  painted  portraits;  his  process  was  to 
sketch  out  his  subjects  on  a  small  scale,  and,  after  having  them 
transferred  to  canvas  by  his  pupils,  under  his  own  close  supervision, 
he  would  complete  them  himself  with  the  vigorous  finishing  touches 
which  distinguish  his  work.  In  the  latter  period  of  his  life  he 
devoted  himself  to  landscape  painting,  working  with  an  apprecia- 
tion of  the  beauty  of  nature  which  had  been  his  from  his  earliest 
years. 


RUBENS.  PETER  PAUL, 

Portrait  of  Helena  Fourment* 


PETER  PAUL  RUBENS. 


HELENA  FOURMENT. 


Janssens.  Cornells  Van  Keulen, 

I590-J663. 


Was  born  in  Amsterdam,  and  attained  considerable  celebrity 
in  his  native  land,  prior  to  I6J8,  when  he  visited  England.  Here 
he  met  with  a  flattering  reception  from  James  I.,  of  whom  he 
painted  several  portraits.  Most  of  his  pictures  were  executed  on 
panel,  though  he  also  worked  in  miniature.  ''He  is  distinguished 
by  the  careful  finish  and  calm  truth  of  his  portraits.  His  tints  are 
quiet  and  delicate,  his  draperies  frequently  black  but  relieved  by 
some  tasteful  bit  of  color." 


JANSSENS.  CORNELIS  VAN  KEULEN, 


Portrait  of  a  Woman^ 


From  a  background  of  soft  olive  tint,  the  woman's  face  stands 
out  in  its  rich  coloring.  Her  features  are  somewhat  strongly  marked; 
her  auburn  hair,  drawn  uncompromisingly  from  her  forehead,  is 
surmounted  by  a  lace  head-dress  of  the  period.  Her  snowy  Eliza- 
bethan ruff,  her  lace  cuffs,  and  the  elaborately  beaded  purse  held 
in  her  right  hand  are  points  of  light  and  color,  which  relieve  the 
sombre  hue  of  her  gown.  The  pose  of  the  head  and  the  lines 
of  the  figure  are  expressive  of  decision  and  dignity. 


Panel. 


Size  35^x28^. 


PORTRAIT  OF  A  WOMAN 


Janssens*  Cornells  Van  Keulen, 

Continued. 


JANSSENS.  CORNELIS  VAN  KEULEN, 

Portrait  of  a  Young  GirL 


From  beneath  a  flaring  head-dress,  edged  with  lace  of  delicate 
mesh,  looks  out  the  face  of  a  young  girl,  pleasing  and  natural. 
The  background  of  the  picture  is  dark,  but  the  black  hue  of  the 
dress  is  relieved  by  the  sleeves,  slashed  with  yellow,  by  the  heavy 
gold  girdle,  and  by  the  ruff,  which,  in  immaculate  stiffness,  encircles 
the  slender  throat.  Upon  each  wrist  there  gleams  a  jeweled 
bracelet,  and  the  right  hand  holds  a  fan. 


Size  Ziy^  x22>^. 


PORTRAIT  OF  A  YOUNG  GIRL. 


Goyen^  Eugene  Van^ 


J596-J666. 


Was  born  in  Leyden,  and  studied  under  Van  de  Velde.  After 
a  short  stay  at  Haarlem  he  settled  in  Leyden.  Removed  to  The 
Hague  in  1 63 1,  and  ten  years  later  was  elected  a  member  of  the 
Painters'  Guild.  He  was  one  of  the  earliest  of  the  Dutch  landscape 
painters,  and  also  etched  a  few  landscapes.  He  was  father-in-law 
to  Jan  Steen. 


GOYEN.  EUGENE  VAN, 


A  Ferry» 


To  the  right  in  this  picture  rise  the  richly  colored  sea-walls 
and  towers  of  a  fortress.  The  tide  has  just  receded,  and  to  the 
left  may  be  seen  the  broadening  of  the  harbor  and  the  sails  of 
vessels,  now  come  into  port.  The  soft  gray  tints  of  the  sky  are 
mirrored  in  the  luminous  waters,  while,  in  the  foreground  of  the 
picture,  a  group  of  fishermen  lean  over  the  side  of  their  boat, 
spreading  their  nets. 


Panel. 


Dyck*  Sir  Anthonius  Van^ 

March  22,  1 599 -December  9,  1 64 1. 


Studied  in  Antwerp,  his  native  city,  in  the  academy  of  Rubens, 
to  whom  he  was  afterwards  an  assistant.  He  visited  many  of  the 
Italian  cities,  and  on  his  return  at  once  became  famous  as  a  painter 
of  historical  subjects  and  portraits.  In  1632  he  settled  in  London, 
where  he  was  knighted,  and  was  styled  "Principal  Painter  to  their 
Majesties  at  St.  James's.*^ 

"Though  he  cannot  be  placed  on  an  equality  with  Rubens  as 
a  historical  painter,  it  will  be  allowed  that  he  surpassed  him  in  the 
correctness  of  his  design,  in  the  delicate  expression  of  his  heads,  in 
the  truth  and  purity  of  his  coloring,  and  in  the  tender  blending  of 
his  tones."  Nor  can  he  be  denied  the  most  honorable  place  after 
Titian,  whom  he  surpassed  in  correctness  and  elegance  in  the 
painting  of  the  hands  and  accessories  of  his  portraits.  His  atti- 
tudes are  always  easy  and  natural,  and  fascinate  by  an  air  of 
unaffected  simplicity. 


DYCK.  SIR  ANTHONIUS  VAN, 


Portrait  of  a  Lady* 


From  a  dark  background  stands  out  a  face,  whose  vivid  coloring 
is  further  enhanced  by  the  skillful  and  daring  introduction  of  a  red 
carnation,  below  the  right  ear.  The  hair  is  auburn;  the  eyebrows, 
dark  and  finely  marked,  add  a  certain  piquancy  to  a  face  already 
characteristic.  The  full  ruff  is  delicately  transparent,  and  relieves 
the  dark  bodice,  whose  buttons  form  a  plaything  for  the  right 
hand,  thus  brought  into  prominence. 

From  the  Rattier  Collection.  Size  29x23}{. 


PORTRAIT  OF  A  LADY. 


Lely^  Sir  Peter, 


(ne  Pieter  Van  der  Faes) 


I6I8- J680. 


A  native  of  Westphalia,  who  came  to  England  in  1 64 1.  He 
first  devoted  himself  to  landscape  painting  with  the  introduction  of 
historical  figures,  but  finding  that  portraiture  was  more  generally 
encouraged,  he  gave  his  attention  to  this,  imitating  the  style  of  Van 
Dyck.  He  was  Court  Painter  in  the  reigns  of  Charles  1.  and  his 
son,  Charles  IL,  and  also  during  the  protectorate  of  Cromwell.  His 
portraits,  though  slight,  have  many  good  qualities.  They  are 
pleasing  in  color,  freely  executed  and  well  drawn,  especially  the 
hands.  In  his  portraits  of  women  there  is  noticeable  a  drowsy 
languor  of  expression  in  the  eyes,  which  became  quite  a  mannerism 
with  him. 

**It  was  reserved  for  the  German  Leiy  and  his  successor, 
Kneller,  to  lay  the  foundation  of  a  manner,  which,  while  pretend- 
ing to  unite  portraiture  with  history,  gave  a  retrograde  direction 
to  both  for  nearly  a  century." 


LELY.  SIR  PETER, 

The  Duchess  of  Portsmouth* 

(ne  Louise  de  Queroualle.) 


There  is  here  depicted  one  of  the  beauties  of  the  Court  of 
Charles  11.;  her  taper  fingers  play  idly  with  a  small  ornate 
teapot,  containing,  doubtless,  that  beverage,  which  had  been  but 
shortly  before  introduced  into  England,  and  was  still  a  luxury  for 
the  few.  The  short  dark  curls  cluster  closely  together  around  a 
face,  almost  childlike  in  its  soft  outline.  The  eyes  are  dark 
and  almond-shaped  with  drooping  lids,  expressive  of  a  languid 
insouciance,  the  mouth  curved  with  a  full  under  lip;  the  harsh 
lines  of  the  bodice  are  relieved  by  a  fold  of  lighter  tone  and  by 
the  soft,  flowing  sleeves,  while  the  train  of  rich  blue  lights  up  the 
brown  tints  of  the  picture.  The  background,  with  its  glimpse  of 
sky  to  the  left,  is  rendered  more  conventional  by  the  introduction 
on  the  right  of  a  group  of  carved  cupids. 


Size  46  x38>i. 


SIR  PETER  LELY 


46}^x  3SK8 


DUCHESS  OF  PORTSMOUTH 


Leiy*  Sir  Peter^ 

Continued. 


LELY.  SIR  PETER, 


Madame  Aphra  Behn^ 


The  dark  background  of  this  picture,  with  its  oval  scroll  work, 
seems  to  form  a  fitting  frame  for  this  portrait,  from  which  the 
eyes,  shadowed  by  dark  brows,  look  out  with  an  easy  noncha- 
lance, while  the  mouth,  with  its  curving  upper  lip  and  full  under 
one,  is  expressive  of  the  same.  The  pure  oval  of  the  face  is  in 
no  way  marred  by  the  soupcon  of  fullness  beneath  the  chin.  The 
soft  golden-brown  hair  gleams  with  pearls  and  the  brown  bodice 
is  edged  with  delicate  white,  which  rests  lightly  on  the  sloping 
shoulders,  from  which  a  black  drapery  has  already  fallen. 


From  the  collection  of  Philip  H.  Howard,  Esq.,  of  Cosby  Castle, 
Carlisle,  England.  Exhibited  by  him  in  the  National  Portrait 
Exhibition. 


Size  30x25. 


MADAME  APHRA  BEHN 


Riley^  John^ 


J646- J69I. 


A  man  of  modest,  unassuming  nature,  his  talents  were  obscured 
during  his  lifetime  by  the  fame  of  Kneller,  while  many  of  his  best 
pictures  were  afterwards  attributed  to  Leiy.  He  painted  the  portraits 
of  Charles  H.,  James  11.  and  his  queen,  and  William  III.  and  Mary, 
being  appointed  Court  Painter  to  the  last  named. 

Walpole  considered  him  one  of  the  best  native  painters,  who 
then  flourished  in  England.  "His  art  was  original,  founded  on 
his  own  observation  of  nature,  his  drawing  careful,  expression 
natural  and  pleasing,  and  his  heads  and  hands  well  painted.'' 


RILEY.  JOHN, 


Sacharissa^ 


The  prevailing  tone  of  this  picture  is  dark,  relieved  by  the 
golden  hair  of  the  lady,  which  forms  a  nimbus  around  a  face 
illumined  by  large  dark  eyes.  The  strong  lines  of  the  bodice  are 
softened  by  the  border  of  delicate  lace,  which  also  edges  the  sleeve 
and  nearly  meets  a  bracelet  of  pearls.  A  row  of  the  same  encircles 
the  throat,  and  from  each  ear  hangs  a  single  drop.  The  left 
hand,  the  only  one  visible,  holds  a  fan. 


From  the  Grindley  Collection. 


Size  29x23^. 


I 


JOHN  RILEY. 


SACHARISSA. 


Kneller*  Sir  Godfrey^ 

1646 -1723. 


Studied  in  the  school  of  Rembrandt  at  Amsterdam,  and  later  in 
Italy.  Settled  in  London  in  1 674,  where  he  enjoyed  an  unrivaled 
reputation  as  a  portrait  painter.  He  was  a  rapid  and  skilled 
artist,  and  beside  the  pictures  of  Charles  II.,  James  11.,  William  HI. 
and  Anne,  painted  the  portraits  of  nearly  every  person  of  note  and 
distinction. 

**Hc  was  the  fashionable  painter  of  the  age,  and  kings  and 
fine  ladies,  wits  and  statesmen,  are  embodied  in  his  art." 

His  greatest  fault  is  an  utter  absence  of  simplicity,  a  too  great 
love  of  conventionality,  which  may  only  be  excused  in  that  it  was 
the  prevailing  spirit  of  the  time. 


KNELLER.  SIR  GODFREY, 


The  Duchess  of  Portlands 


The  pose  of  this  figure  is  conventional,  yet  seems  to  accord, 
not  alone  with  the  loose  classical  draperies,  fastened  only  upon 
the  left  shoulder  and  revealing  a  chemisette  with  flowing  sleeves, 
but  also  with  the  dark  tresses,  which  rest  upon  the  white  shoulders. 
The  face,  with  its  dark  curving  brows,  is  piquant  rather  than 
beautiful.  The  general  tone  of  the  picture,  both  in  drapery  and 
background,  is  brown. 


Size  50x40^. 


SIR  GODFREY  KNELLER  5°  x  4°% 


DUCHESS  OF  PORTLAND. 


Kneller*  Sir  Godfrey^ 

Continued. 


KNELLER.  SIR  GODFREY, 


A  Lady  of  Quality^ 


In  this  picture  the  graceful,  sinuous  lines  of  the  figure  arc 
further  enhanced  by  the  soft  draperies  which  surround  it.  A 
chemisette  of  white  reveals  its  snowy  folds  under  a  gown  of  blue, 
open  to  the  waist,  and  below  the  waist  the  same  color  is  dexterously 
contrasted  with  the  rich  red  folds  of  the  curtain,  upon  which  the 
lady  sits.  Her  hands,  with  their  delicately  tapering  fingers,  rest 
upon  the  same  drapery.  From  the  oval  face  rises  high  the  pale 
golden  hair,  which  falls  again  in  ringlets  upon  her  shoulders.  A 
landscape,  painted  in  deep  tones,  forms  the  background. 


From  the  collection  of  William  Walton,  Esq.,  of  Harrytown 
Hall,  Romilly,  Cheshire,  England. 


Size  49^  x40^. 


A   LADY  OF  QUALITY. 


Hogarth,  William, 


December  10,  1697 -October  26,  J 764. 

From  his  earliest  days,  William  Hogarth  showed  a  decided 
predilection  for  art.  His  first  employment  was  the  engraving  of 
arms  and  shop  bills,  but  his  attention  was  soon  turned  to  the 
making  of  engravings  for  books.  This  occupation  was  the  first 
outlet  for  a  man,  who  believed  that  in  the  past  writers  and  painters 
alike  had  totally  overlooked  that  class  of  subjects  lying  between 
the  sublime  and  the  picturesque,  namely  the  truthful  delineation  of 
life,  as  it  is,  in  all  its  faultiness  and  weakness.  A  deepening  of 
this  conviction  resulted,  after  1728,  in  the  production  of  several 
small  conversation-pieces,  and  in  1734  he  finally  established  his 
reputation  as  a  painter  of  domestic  history  by  his  famous  series, 
"A  Harlot's  Progress."  Hogarth's  peculiar  art  found  its  culmina- 
tion and  finest  exponent,  however,  in  the  six  pictures,  forming 
"The  Marriage  a  la  Mode." 

As  a  portrait  painter  he  seems  to  have  raised  the  ire  of  many 
of  his  sitters  by  his  resolute  refusal  to  flatter  them  in  any  degree ; 
as  a  painter  of  historical  subjects  he  was  more  than  unsuccessful, 
but  in  the  power  of  creating  or  imitating  forms,  suitable  to  his 
own  range  of  art,  he  was  a  master  draughtsman,  whose  figures 
were  so  true  to  life,  that  many  of  them  have  furnished  lecturers 
on  anatomy  with  the  subjects  to  illustrate  motion,  attitude  and 
expression.  His  influence  upon  the  British  school  was  therefore 
in  the  direction  of  realism,  to  teach  men  not  to  despise  nature, 
but  rather  to  turn  away  from  the  mere  repetition  of  stale  subjects 
from  masters  long  bygone  and  thoughts  rendered  worthless  by 
frequent  dilution. 


HOGARTH.  WILLIAM, 


Portrait  of  a  Young  GirL 


The  face,  under  the  quaint  lace  cap  with  its  bright  blue  bow 
under  the  pointed  chin,  is  one,  which,  in  the  upward  curving 
corners  of  the  mouth,  is  expressive  of  quiet  but  humorous  self- 
reliance.  The  tone  of  the  picture  is  a  luminous  gray  relieved  by 
the  dark  auburn  of  the  hair,  which  is  almost  hidden  under  the  cap. 


Size  30>^  x25^. 


PORTRAIT  OF  A  YOUNG  GIRL, 


Hogarth^  William^ 

Continued. 


HOGARTH.  WILLIAM, 


Modem  Midnight  Conversation^ 


It  would  be  difficult  to  imagine  a  more  truthful  characterization 
of  various  degrees  of  intoxication  than  is  portrayed  in  this  picture. 
Eleven  congenial  spirits,  who  have  already  consumed  unmeasured 
quantities  of  wine,  are  now  ready,  according  to  their  different 
ability,  to  attack  a  capacious  bowl  of  punch.  One  man,  habited 
in  red,  has  already  fallen  to  the  floor;  another,  staggering  beside 
him,  will  doubtless  soon  follow  his  example;  one  has  sunk  into  a 
drunken  slumber,  while  another,  upon  the  right  of  the  picture,  seems 
to  struggle  against  approaching  misery.  The  more  steady-headed 
among  the  number  have  put  a  light  to  their  long  pipes,  and  one 
holds  a  candle  in  dangerous  proximity  to  his  lawn  ruffle.  The 
presiding  genius  of  the  punch-bowl,  known  as  "the  rosy-gilled 
parson,**  is  a  caricature  of  a  well-known  clergyman  of  the  period, 
who  at  times  had  no  regard  for  his  cloth. 


Size  36  X  27. 


Formerly  the  property  of  Mr.  Samuel  Ireland,  author  of 
"Hogarth's  Life.*' 


Di  Rotari*  Conte  Pietro^ 

1707 -1762. 


Was  born  in  Verona.  For  some  time  he  practiced  painting 
merely  as  an  amusement,  but  his  progress  was  so  marked  that  he 
determined  to  adopt  it  as  his  profession.  After  some  years  of 
study  in  Venice  and  Rome,  combined  with  the  advantages  of  travel, 
he  became  a  correct  and  graceful  designer,  and  was  unsurpassed 
by  any  painter  of  his  time  in  the  tasteful  disposition  of  his 
draperies,  in  the  expressiveness  of  his  heads,  and  in  the  elegance 
of  contour  of  his  figures.  He  visited  St.  Petersburg  in  1 756,  when 
he  was  appointed  Principal  Painter  to  the  Empress  of  Russia. 


DI  ROTARI.  CONTE  PIETRO, 


Portrait  of  Count  Marcolini* 


The  man  here  represented,  who  was  a  director  of  the  Dresden 
Porcelain  Works  from  J  708  to  1762,  is  one  whose  easy  carriage 
and  delicate  tapering  fingers,  in  the  act  of  taking  a  pinch  of  snuff, 
mark  him  out  as  a  man  of  rank  and  position,  while  his  every 
feature  denotes  decision  of  character.  The  colors  are  here  dexter- 
ously blended  and  contrasted,  the  white  wig,  and  the  blue  cloak, 
thrown  over  the  right  arm,  with  the  artistic  red  of  the  velvet  coat 
and  vest,  richly  embroidered  in  gold.  The  elaborate  design  of  the 
embroidery  and  of  the  lace,  falling  in  ruffles  over  the  hands,  shows 
the  painstaking  art  of  the  painter. 


Size  36x29. 


i 


'i 


PORTRAIT  OF  COUNT  MARCOLINi. 


Wilson^  Richard^  A* 


August  \,  I7J4-May,  1782. 


In  his  earlier  years  he  devoted  himself  to  portraiture,  but  when 
studying  in  Italy  was  advised  by  Zuccarelli  to  turn  his  attention 
to  landscape  painting.  On  his  return  to  England  he  did  not  attain 
the  success  due  to  him,  partly  on  account  of  the  jealousy  of  his 
contemporaries,  partly  on  account  of  his  unfortunate  disposition. 
In  color,  composition  and  aerial  truth  few  landscape  painters  have 
excelled  him.  Like  Reynolds  and  Gainsborough,  he  sought  by  his 
generalization  to  give  a  simpler,  truer  and  higher  impression  of 
Nature  than  was  possible  by  the  most  minute  imitation,  and  there- 
fore one  fine  quality  in  his  art  is  the  manliness  and  ease  of  the 
handling,  which  reveals  not  alone  that  he  loved  his  work,  but  that 
he  was  perfect  master  of  his  materials.  "Purely  classic  and  noble 
in  his  conception,  he  gave  a  new  aim  and  impulse  to  the  English 
school,  and  his  works  will  secure  him  an  imperishable  name." 


WILSON.  RICHARD,  R.  A. 


The  Bridge  of  Augustus  at  Rimini. 


The  distribution  of  light  in  this  picture  makes  it  a  good 
exponent  of  the  artist's  power  of  expressing  both  color  and  atmos- 
phere. The  far  and  middle  distance,  with  the  red-roofed  houses, 
are  bathed  in  the  mellow  sunlight,  while  the  foreground  lies  in 
shadow;  a  few  unobtrusive  figures  are  skillfully  introduced,  thus 
adding  a  touch  of  life.  The  foliage  is  light  and  graceful,  and 
seems  to  accord  with  the  golden  light  upon  the  river,  and  the  soft 
tints  of  the  cloud-flecked  sky. 


From  the  collection  of  J.  Langham  Burton,  Esq.,  of  Somersby, 
Lincolnshire,  England. 


Size  30x25. 


I 


Wilson.  Richard,  R.  A. 

Continued. 


WILSON.  RICHARD,  R.  A. 

Landscape^ 


This  picture  has  all  the  glowing  beauty  and  perfect  peaceful- 
ness,  which  characterize  Wilson's  work. 

The  sky,  of  a  delicious  blue,  parts  to  the  right  of  the  picture 
and  discloses  a  golden  glory,  which  glints  and  glimmers  over  the 
trees  in  the  foreground.  The  softly  flowing  stream  reflects  the 
brilliancy  of  the  sky,  and  the  overhanging  branches  of  the  trees 
upon  its  banks.  Upon  the  right  of  the  picture  the  twisting  boughs 
stand  out  against  the  sky,  while  to  the  left  the  tones  are  more 
sombre,  touched  here  and  there  by  a  gleam  of  light,  and  in  the 
background  the  gray  mountains  stand  out  in  relief  beside  a  heaven 
of  softer  blue. 


Size  35  X  22. 


o 
I 

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O 


O 


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Reynolds,  Sir  Joshua,  A, 

July  16,  1 723 -February  23,  J  792. 


Studied  in  England  and  later  in  Italy,  where  he  developed 
his  powers  of  criticism,  and  was  imbued  with  the  beauties  of  the 
Italian  school.  On  his  return  to  London,  he  settled  down  as  a 
portrait  painter.  He  was  chiefly  instrumental  in  obtaining  the 
charter  of  the  Royal  Academy,  of  which  he  was  appointed  the 
first  President  in  1768.  Many  of  his  portraits  rank  worthily  beside 
the  master-pieces  of  Van  Dyck,  in  that,  breaking  away  from  con- 
ventionality, he  seized  every  new  action  or  expression,  that  nature 
offered  him.  His  children  have  all  the  artless  grace  of  childhood, 
his  women  are  lovely,  his  men  endowed  with  dignity.  His  ideal- 
ized portraits  are  invested  with  an  air  of  purity  and  innocence 
peculiar  to  the  genius  of  the  painter.  In  all  his  works  we  note 
great  power,  a  graceful  disposition  of  draperies,  a  rare  beauty  of 
background,  and,  above  all,  luxuriant  and  glowing  color,  which 
was  his  greatest  characteristic,  after  which  he  continually  aimed, 
sometimes  using  fading  colors  and  fugitive  mediums  in  his  attempt 
to  attain,  in  this  direction,  a  higher  excellence  than  was  already 
known.  And  thus  to  Reynolds  the  English  School  owes  its  escape 
from  mechanical  monotony  in  color  and  executive  processes,  and, 
by  reason  of  the  treasury  of  examples  and  warnings,  which  he  left 
behind,  it  has  been  able  to  produce,  as  far  as  handling  and  execu- 
tion goes,  almost  as  many  varieties  of  manner  as  there  arc 
individual  painters. 


REYNOLDS.  SIR  JOSHUA,  R  R.  A. 


Portrait  of  Mrs*  Baldwin* 

(In  a  costume  worn  by  her  at  a  Fancy  Dress  Ball 
given  by  George  III.) 

The  type  of  woman  here  represented,  with  ivory  skin,  dark, 
almond-shaped  eyes  and  dusky  hair,  is  strangely  suggestive  of  the 
Orient,  nor  are  these  characteristics  weakened  by  the  richly  blended 
hues  of  the  costume,  which  call  to  mind  the  gorgeous  tints  of 
Persian  tapestries.  One  end  of  the  divan,  upon  which  the  lady 
sits  in  true  Eastern  fashion,  is  adorned  with  a  piece  of  embroidery, 
and  on  it  the  light  rests  from  a  glimpse  of  the  sky,  visible  to  the 
left.  The  whole  picture  is  a  marvelous  color  study,  and  the 
painting  of  the  costume  bears  the  mark  of  a  master-hand. 

Mrs.  Baldwin,  ne  Maltass,  was  the  great-aunt  of  the  late  Dean 
Burgon,  and  wife  of  the  English  Minister  to  Persia. 

**The  extraordinary  beauty  of  this  lady  created  a  great  sensa- 
tion both  at  Vienna  and  in  London,  procured  for  her  attentions 
from  the  Prince  of  Wales,  afterwards  George  IV.,  and  elicited  even 
from  Dr.  Johnson  a  burst  of  clumsy  amorousness." 

*'In  all  the  pride  of  youth  and  beauty,"  writes  her  great- 
nephew  to  the  Gentleman's  Magazine,  "she  was  brought  before 
the  aged  and  infirm  sage,  whose  curiosity  had  been  aroused  by 
the  story  of  her  foreign  birth  and  residence  in  distant  lands. 
Johnson  asked  her,  what  was  the  color  of  the  Abyssinians?  Mrs. 
Baldwin  replied,  that  she  did  not  know.  'But  what  colour  do 
you  think  they  are?'  persisted  the  author  of  'Rasselas.'  After 
some  hesitation  and  renewed  professions  of  utter  ignorance  on  the 
subject,  Mrs.  Baldwin  said,  that  she  supposed  they  were  brown. 
The  doctor  next  said,  he  should  like  to  give  her  a  kiss,  and,  the 
husband's  permission  having  been  obtained,  a  kiss  was  formally 
inflicted.  Mrs.  Baldwin  could  never  forget  the  forbidding  exterior 
of  her  Platonic  admirer  and  the  servile  adulation  of  his  future 
biographer." — Goulbourns  Life  of  Dean  Burgon. 

Size  SAxAZyi, 

From  the  "Strawberry  Hill"  and  Werthcimer  Collections. 

Engraved. 


MRS,  BALDWIN. 


1 


I 


Reynolds*  Sir  Joshua^       R*  A* 


I 
j 

i 


REYNOLDS.  SIR  JOSHUA,  P.  R.  A. 


Elizabeth,  Lady  Turner, 


of  Glints,  Yorkshire. 


In  this  picture  may  be  found  an  excellent  illustration  of  that 
distribution  of  light  and  shade,  and  also  of  the  marvelous  power 
of  color  expression,  which  are  characteristics  of  Sir  Joshua.  The 
red  drapery,  mingling  with  the  folds  of  the  blue  mantle,  so  skill- 
fully introduced,  serves  both  to  conceal  and  to  reveal  the  lines  of 
the  graceful  figure.  The  hands  with  their  tapering  fingers  are 
expressive,  nor  is  the  face,  with  its  dark  widely-opened  eyes  and 
arched  eyebrows,  lacking  in  originality. 


From  the  Graves  Collection  and  that  of  Baron  Alfred  de 
Rothschild. 


Size  64j4  X  30. 


Engraved  by  James  McArdell. 


Engraved  by  R.  Joscy. 


MRS.  TURNER  OF  GLINTS  IN  YORKSHIRE. 


Cotes^  Francis,  R»  A* 

1 725 -1 770. 


A  pupil  of  George  Knapton,  one  of  the  earliest  members  of  the 
Royal  Academy,  and  a  member  also  of  the  Incorporated  Society 
of  Artists.  He  was  a  portrait  painter  in  oils,  and  Hogarth, 
probably  with  a  tinge  of  jealousy,  maintained  that  he  excelled 
even  Reynolds  in  this  branch  of  art.  He  was  an  eminent  artist 
in  crayons,  Walpole  declaring,  that  he  had  arrived  at  ''uncommon 
perfection"  therein. 


COTES.  FRANCIS,  R.  A. 


Portrait  of  a  Young  GirL 


The  face,  which  looks  out  from  the  canvas,  is  that  of  a  young 
girl  of  the  brunette  type,  whose  dark  hair  is  coiled  high,  and  sur- 
mounted by  closely  entwined  strings  of  seed-pearls.  Some  of  the 
strings  have  fallen  out  of  place,  and  rest  in  careless  negligence 
upon  the  drapery  of  gray-blue  tone,  which  covers  her  shoulders 
and  is  loosely  knotted  in  front,  revealing  the  soft  lines  of  throat 
and  neck  and  the  chemisette  of  white  below.  The  dark  eyes  are 
surmounted  by  delicately  pencilled  brows,  the  forehead  is  low,  the 
lips  curved,  the  chin  finely  moulded,  adding  a  piquancy  to  the 
perfect  oval  of  the  face  with  its  soft  flesh  tints. 


Size  30x25. 


PORTRAIT  OF  A  YOUNG  GIRL. 


i 

\ 

1 
i 


i 

I 

! 

i 
I 


I 

I 
I 


I 

■J 


Gainsborough.  Thomas,  R,  A. 

1727 -1788. 


In  Gainsborough  an  innate  propensity  for  art  was  nourished 
by  the  beauties  of  the  Suffolk  scenery,  by  which  he  was  sur- 
rounded from  early  childhood.  He  studied  in  London,  and  practiced 
both  as  a  portrait  and  landscape  painter.  On  the  foundation  of 
the  Royal  Academy,  he  was  one  of  the  thirty-six  original  members. 
In  his  lifetime  his  landscapes  and  portraits  were  both  alike  con- 
sidered excellent,  and  he  now  occupies  one  of  the  highest  places 
in  the  English  School,  possessing  the  merit  of  having  broken  loose 
from  the  old  traditions.  His  portraits  may  be  compared  favorably 
with  those  of  Sir  Joshua,  their  silvery  purity  forming  a  contrast  to 
the  golden  richness  of  Reynolds*  pictures,  while  Ruskin  says,  that 
in  technical  work  "Turner  is  a  child  to  him;  his  forms  arc 
grand,  simple  and  ideal,  his  excellence  is  based  upon  principles  of 
art  long  acknowledged,  and  facts  of  nature  universally  apparent. 
In  a  word,  he  is  an  immortal  painter." 


GAINSBOROUGH.  THOMAS,  R.  A. 


Portrait  of  a  Lady  of  Quality* 


From  a  dark  background,  this  portrait  stands  out  in  good  relief. 
The  face,  with  its  high  thin  nose,  delicate  lips  and  finely  moulded 
chin,  is  eminently  patrician.  The  powdered  hair  rises  in  soft  lines 
from  the  forehead,  which  is  marked  by  well-defined,  expressive 
eyebrows,  shading  dark  eyes.  The  ethereal  blue  of  the  cape,  and 
the  pearly  tone  of  the  swansdown,  which  edges  it,  mingle  con- 
trastingly with  the  brown  of  the  under-wrap. 


From  the  collection  of  the  late  William  Winch,  Esq.,  of 
Wyminus  Park,  Hatfield,  Herts,  England. 


Size  30x25. 


THOMAS  GAINSBOROUGH,  R.  A 


PORTRAIT  OF  A  LADY  OF  QUALITY. 


Gainsborough*  Thomas,  R»  A. 

Continued. 


GAINSBOROUGH.  THOMAS,  R.  A. 


Landscape* 


A  broad  pond,  overshadowed  by  heavy  masses  of  foliage,  is 
here  depicted.  The  overhanging  atmosphere  seems  saturated  with 
moisture,  and  the  sunlight  can  with  difficulty  find  its  way  through 
the  leafy  screens.  Not  alone  the  surface  of  the  water,  but  the 
trunks  of  the  trees  are  covered  with  damp  verdure.  In  the  fore- 
ground a  herdsman  is  seen  leading  his  cattle  to  the  left  along  the 
border  of  the  pond. 


Sixe  33 'X  x23^. 


Gainsborough.  Thomas,  R.  A. 

Continued. 


GAINSBOROUGH.  THOMAS,  R.  A. 


Landscape* 


In  the  foreground  of  this  picture,  against  an  azure  sky,  is  out- 
lined in  contrasting  tones  of  green  the  feathery  foliage  of  a  group 
of  large  oak  trees,  which  grow  not  far  from  a  pond,  where  a 
thirsty  cow  has  already  paused  for  water,  while  two  others  are 
ready  to  follow  her  example.  In  the  background  to  the  left  stand 
a  few  cottages,  almost  concealed  by  a  mass  of  forest  green,  while 
to  the  right  may  be  seen  in  a  stronger  light,  on  the  crest  of  a 
gentle  hill,  a  farmer  with  his  horse  and  wagon,  and  on  the  sloping 
side  a  flock  of  sheep  nibbling  the  tender  grass. 


Size  50x40. 


> 


Gainsborough^  Thomas^  A» 

Continued. 


GAINSBOROUGH.  THOMAS,  R.  A. 


Mrs*  Robinson* 


(ne  Elizabeth  Fortescue.) 


"Elizabeth,  daughter  of  Faithful  Fortescue,  was  born  in  J 747, 
and  married,  at  the  age  of  twenty-two,  to  Colonel  Routh  of  the 
Royal  Marines."  After  his  death  she  married  Alderman  Robinson, 
who  had  this  picture  painted  by  Gainsborough  in  1782. 

The  general  type  of  the  portrait  is  characteristic  of  the  artist. 
The  feathery  foliage  and  the  distant  landscape  to  the  right  form 
a  fitting  background  for  the  lightly  sketched-in  figure  of  the  lady, 
who  stands  with  her  right  arm  resting  upon  the  base  of  a  fluted 
column  to  the  left  of  the  picture.  Her  hair  is  combed  high  from 
her  forehead,  and  entwined  with  blue  to  match  the  pervading  hue 
of  her  costume.  Her  shoulders  slope  gracefully,  and  her  hands, 
with  their  slender  wrists  and  tapering  fingers,  are  expressive  of 
the  beauty  of  line  and  form. 


Size  50x40>4:. 


From  the  collection  of  Lord  Arthur  Hill. 


THOMAS  GAINSBOROUGH,  R  A 


MRS.   ROBINSON,  nee  ELIZABETH  FORTESCUE, 


I 


1 

i 

! 
i 


Romney.  George, 


December  J  5,  1 734  -  November  15,  1802. 


In  his  apprenticeship  to  a  cabinet-maker,  Romney  showed  his 
inclination  towards  art,  by  making  sketches  of  his  fellow-workmen. 
When  twenty-seven  years  of  age  he  removed  to  London,  where 
he  soon  achieved  a  high  reputation  as  a  portrait  painter,  and 
became  a  successful  rival  of  Reynolds.  After  two  years'  study  in 
Italy  there  was  apparent  in  his  works  a  striking  improvement  both 
in  their  composition  and  handling.  Romney  was  in  all  respects  an 
enthusiast,  his  mind  teemed  with  designs  for  important  works, 
which  were  only  begun  to  be  cast  aside.  His  best  characteristics 
are  grace,  a  warmth  and  beauty  of  color  and  a  great  breadth  of 
treatment  and  originality,  especially  in  his  portraits  of  women. 
His  method  of  painting  was  simple  and  solid,  and  his  colors  stand 
well.  Flaxman  says  of  him:  ''His  compositions,  like  those  of  the 
ancient  paintings  and  basso-relievos,  told  their  story  by  a  single 
group  of  figures  in  the  front,  while  the  background  is  made  the 
simplest  possible." 


ROMNEY.  GEORGE, 


Portrait  of  Alexander  Blair* 


The  face  here  depicted  betokens  decision  and  refinement.  The 
eyes  are  deeply  set  under  heavy  brows,  the  nose  thin,  the  chin 
squarely  moulded.  The  black  velvet  coat  forms  a  contrast  to  the 
ruddy  complexion  tints,  and  to  the  white  ruffles  at  neck  and  wrists. 
The  hands,  with  their  long  tapering  fingers,  are  closely  interlocked, 
the  knees  are  crossed,  the  figure  seated  in  a  large  arm-chair. 


Size  42  X  34. 


ALEXANDER  BLAIR. 


! 
1 


Romney.  George, 

Continued. 


ROMNEY.  GEORGE, 


Lady  Hamilton^ 


Lady  Hamilton  is  here  represented  as  an  Irish  dancing  girl. 
The  sinuous  lines  of  her  lithe  figure  and  the  curve  of  her  upraised 
right  arm  are  suggestive  of  the  grace  of  motion.  Her  color  is 
heightened  by  the  rapid  dance,  and  forms  a  rich  contrast  to  her 
dark  wavy  locks,  while  it  enhances  the  lustre  of  her  eyes.  The 
deep  red  tone  of  the  scarf,  which  floats  behind  her,  adds  a  rich 
effect  to  the  warm  brown  shade  of  her  simple  gown.  The  land- 
scape in  the  background  shows  a  distant  mountain  peak,  crowned 
with  light,  against  a  cold  gray  sky. 


Size  31  x25}4» 


LADY  HAMILTON. 


I 
i 

i 

! 
i 

I 
1 


Continued. 


ROMNEY.  GEORGE, 


Lady  Beauchamp* 


The  portrait,  which  here  stands  out  from  the  canvas,  is  that 
of  a  woman,  whose  delicate  features  and  well-poised  head  denote 
high  breeding.  Her  slender  throat  rises,  pillar-like,  from  the  soft 
folds  of  her  white  gown,  and  her  golden-brown  hair,  which  falls 
in  ringlets  on  her  shoulders,  is  surmounted  by  a  white  twisted 
turban.  The  deep  rich  tones  of  the  red  background  offer  a  pleasing 
and  powerful  contrast.  The  picture  is  unfinished  in  detail,  the 
unimportant  parts  being  little  more  than  suggested. 


Size  30  }4  x25. 


LADY  BEAUCHAMP. 


West*  Benjamin^  ?♦  A. 

J738- March  U,  1820. 


Was  born  in  Chester  County,  Pa.  He  early  evinced  a  taste 
for  art,  and  as  a  young  man  employed  himself  in  portrait  painting. 
After  a  period  of  art  study  in  Italy,  West  came  to  London,  where 
he  met  with  a  flattering  reception.  For  nearly  sixty  years  he  held 
a  most  important  position  among  English  artists,  and  by  his 
painting  of  historical  subjects  incited  others  to  similar  attempts. 
Though  he  did  not  create  a  school,  he  struck  a  blow  in  favor  of 
realism  and  naturalness  in  art  by  his  refusal  to  paint  the  actors 
in  his  *^ Death  of  Wolfe"  in  classic  costume,  according  to  usage. 
He  was  chosen  in  1765  a  member  and  director  of  the  Incorporated 
Society  of  Artists,  was  appointed  historical  painter  to  the  King, 
1772,  and  elected  to  fill  the  place  of  Sir  Joshua  Reynolds,  as 
President  of  the  Royal  Academy,  in  J  792. 


WEST.  BENJAMIN,  P.  R.  A. 

The  Death  of  King  Davids 

From  the  Magnk  Collection.  Size  23>^  x  I8>^. 


Smirke^  Robert^  R*  A* 

J 752 -January  5,  1845. 


One  of  the  principal  early  English  painters  of  Genre.  Entered 
as  a  student  of  the  Royal  Academy  in  1 77 1,  but  did  not  exhibit 
there  until  J  786.  He  was  made  an  Academician  in  J  792,  but 
rarely  exhibited,  devoting  his  time  chiefly  to  book  illustration,  for 
which  his  art  was  particularly  adapted.  "His  works  are  marked 
by  a  graceful,  quiet  humor,  are  well  drawn,  cleverly  painted  and 
always  pleasing."  Many  of  them  were  carried  out  in  monochrome, 
others  with  but  very  slight  indications  of  color. 


SMIRKE.  ROBERT,  R.  A. 


The  New  Page* 


A  young  lad  has  apparently  just  made  application  for  the 
position  of  page,  and  now  stands  on  trial  before  the  supreme  court 
of  the  household.  The  master  of  the  house  sits  at  his  ease  care- 
lessly indifferent  to  the  evident  nervousness  of  the  boy,  whose  knees 
seem  about  to  give  way  under  him,  but  who,  nevertheless,  succeeds 
in  winning  the  favor  of  his  young  mistress.  She  stands  by,  and 
listens  with  marked  approval,  while  beside  her  is  the  housekeeper, 
who,  by  her  every  gesture,  expresses  surprise  and  alarm,  that  the 
application  of  one  so  young  should  be  favorably  considered. 


Size  32x22. 


ROBERT  SMIRKE,   R.  A.  .  3J  x  22 


THE  NEW  PAGE, 


I 


Smirke*  Robert^  R*  A* 

Continued. 


SMIRKE.  ROBERT,  R.  A. 


The  Obdurate  Mother* 


On  a  sofa  is  seated  the  obdurate  mother,  attired  in  a  black 
velvet  robe,  which  seems  to  add  further  dignity  to  her  form ;  her 
fan  is  firmly  grasped  in  her  left  hand.  The  pose  of  the  head  and 
the  expression  of  every  feature  denote  a  decision,  which  will 
render  futile  the  earnest  pleadings  of  her  daughter,  who  sits  beside 
her,  and  seems  to  desire  to  add  caress  to  entreaty.  The  lines  of 
her  white-robed  form  are  graceful,  and  her  hair  falls  in  heavy 
tresses  to  her  shoulders.  In  the  background  to  the  right  are 
dark  rich  hangings  of  a  dull  red  tone,  while  to  the  left,  through 
the  open  window,  may  be  seen  a  cathedral  in  the  distance  and 
glimpses  of  foliage. 


Size  31^x22. 


Beechey*  Sir  William^  R.  A» 

December  J 2,  J 753 -January  28,  1839. 


Was  admitted  as  a  student  of  the  Royal  Academy,  in  1772. 
Produced  some  conversation-pieces  after  the  manner  of  Hogarth, 
but,  when  he  established  himself  in  London  as  a  portrait-artist,  so 
distinguished  himself,  that  he  was  made  portrait-painter  to  Queen 
Charlotte  and  instructor  to  the  princesses.  He  was  elected  an 
Academician  in  1798.  Portraits  by  Sir  William  Beechey,  which 
still  adorn  many  public  halls  and  family  residences  in  England, 
are  celebrated  for  their  truth  and  accuracy,  and  for  the  delicacy 
and  sweetness  of  their  coloring.  Da  we  says  of  him:  "Beechey 
may  justly  be  considered  the  only  original  portrait  painter  we  have, 
all  the  rest  being  more  or  less  imitators  of  Sir  Joshua." 


BEECHEY.  SIR  WILLIAM,  R.  A. 


Lady  Beechey^ 


The  artist  has  here  depicted  his  own  wife,  in  a  pose  at  once 
easy  and  graceful.  She  has  paused,  pencil  in  hand,  and  her  blue 
eyes  look  up  from  under  the  drooping  brim  of  a  large  straw  hat. 
The  brown  tone  of  her  dress  is  relieved  by  the  almost  transparent 
white  fichu,  carelessly  knotted  in  front.  The  background  is  bright 
with  the  glow  of  the  afternoon  sun,  while  a  well-wooded  park 
stretches  into  the  far-off  distance. 


Size  3l}4  x26}4. 


Exhibited  in  the  Royal  Academy  in  1800. 


LADY  BEECHEY. 


I 


i 

I 

1 

j 
i 

I 

i 

I 


Stuart*  Gilbert, 


1754- 1828. 


An  Anglo-American  painter  of  considerable  talent,  who,  upon 
his  arrival  in  England  in  early  manhood,  studied  under  Benjamin 
West.  His  claims  to  be  considered  an  excellent  portrait-painter 
were  acknowledged  even  in  the  lifetime  of  Sir  Joshua  Reynolds. 

The  last  thirty-five  years  of  his  life  were  passed  in  America, 
and  although  he  had  to  struggle  against  increasing  physical 
infirmity,  the  works  of  his  last  days  were  marked  by  the  same 
truth  and  splendid  vigor  of  conception,  which  had  distinguished 
his  prime.  Among  his  American  portraits,  that  of  George  Wash- 
ington may  be  considered  his  chef-d'  oeuvre. 


STUART.  GILBERT, 

Portrait  of  George  Washington^ 


GILBERT  STUART. 


GEORGE  WASHINGTON. 


Stothard.  Thomas^  R*  A* 

August  J 7,  J 755 -April  27,  J 834. 


When  but  a  youth,  Stothard  began  his  artistic  career  by  the 
illustration  of  an  edition  of  Ossian  and  of  Bell's  "Poets/*  a  labor 
which  was  truly  congenial,  and  which  revealed  his  talents.  He 
entered  the  School  of  the  Royal  Academy  in  1777,  was  elected 
Academician  in  1794,  and  contributed  to  its  exhibitions  from  1798 
until  the  time  of  his  death.  These  contributions  were  chiefly  book 
designs,  with  occasionally  a  work  of  greater  importance.  Grace 
and  sweetness  are  his  distinguishing  characteristics,  female  beauty 
and  purity  are  always  conspicuous  in  his  work,  although  his 
figures  are  too  often  somewhat  conventional.  Yet  they  possess 
antique  beauty  of  line,  combined  with  modern  sentiment. 


STOTHARD.  THOMAS,  R.  A. 

The  May  Queen* 


This  picture  is  an  excellent  example  of  the  artist's  manage- 
ment of  light.  Through  the  rifts  in  the  foliage,  which  seems  to 
form  a  green  curtain  in  the  background,  the  light  breaks,  and  falls 
upon  the  figures  in  the  foreground,  three  of  whom  are  crowning 
the  fourth,  their  queen,  with  the  chaplets  they  have  woven.  The 
diaphanous  texture  of  their  classic  draperies,  in  well  contrasted 
colors,  is  satisfactorily  portrayed,  and  the  whole  picture,  though 
seemingly  idealized,  is  true  to  a  once  received  conception,  if  not 
to  fact. 


Size  26%  x20j4» 


> 
-< 


Raebum*  Sir  Henry,  A* 

March  4,  1756 -July  8,  1823. 


Was  born  in  Stockbridge,  near  Edinburgh.  His  love  of  draw- 
ing led  him  to  attempt  portraits,  in  which  he  achieved  considerable 
success,  devoting  himself  finally  entirely  to  work  in  oil.  He  visited 
Italy,  but  later  established  himself  permanently  in  Edinburgh,  where 
he  was  highly  honored,  being  made  President  of  its  Society  of 
Artists  in  I8I2.  Three  years  afterwards  he  was  elected  a  full 
member  of  the  Royal  Academy,  and  in  1822  was  appointed  **His 
Majesty's  Limner  for  Scotland." 

His  portraits  are  distinguished  for  great  breadth  of  treatment 
and  character.  He  invariably  strove  to  secure  the  individuality  of 
the  sitter,  and  was  successful  in  obtaining  a  true  and  character- 
istic likeness.  Although  influenced  by  Reynolds,  his  manner  of 
execution  was  more  like  that  of  Gainsborough,  with  a  certain 
appearance  of  facility,  yet  lacking  in  that  pearly  freshness,  which 
was  a  marked  peculiarity  of  the  latter  painter. 


RAEBURN.  SIR  HENRY,  R.  A. 

Portrait  of  Jean^ 

Daughter  of  Sir  Ewen  Cameron  of  Fassiefern,  and  wife 
of  Roderick  Mac  Neill  of  Barra. 


From  a  background  of  mingled  brown  and  gray,  which  grows 
lighter  to  the  right  of  the  picture,  looks  forth  a  face  almost  girlish 
in  its  soft  lines  and  delicate  coloring.  The  hair,  of  a  warm  rich 
brown,  clusters  in  unbound  luxuriance  upon  her  shoulders  and 
forehead.  The  figure  is  three-quarters  length.  As  she  sits  in 
unconscious  dignity,  her  white  dress  falls  in  soft  folds  upon  the 
brown  drapery,  which  helps  to  form  the  background.  The  simple 
bodice,  low  at  the  neck,  reveals  her  slender  throat.  Her  waist  is 
encircled  by  a  broad  girdle  of  sapphire  blue,  whose  floating  end  is 
loosely  held  in  her  right  hand.  The  face  has  a  winsome  sweet- 
ness; the  eyes  are  of  a  deep  blue,  the  lips  curved  and  rosy,  while 
the  chin  is  thrown  out  into  clear  relief. 


Size  48x40. 


PORTRAIT  OF  JEAN,  DAUGHTER  OF  SIR   EWEN   CAMERON,  OF  FASSIEFERN 
WIFE  OF  RODERICK  MACNEILL,  OF  BARRA. 


Hoppner*  John,  R» 

April  4,  1758  -January  23,  I8I0. 


Entered  the  Royal  Academy  as  a  student  in  1775,  was  made 
an  Associate  in  1793,  and  two  years  later  elected  an  Academician. 
His  style  was  formed  somewhat  upon  that  of  Sir  Joshua  Reynolds, 
although  he  was  far  from  being  a  copyist.  Although  essentially 
a  portrait  painter,  a  powerful  rival  of  Sir  Thomas  Lawrence,  and 
peculiarly  happy  in  his  treatment  of  women  and  children,  he 
nevertheless  would  have  also  excelled  in  landscape  painting.  This 
is  a  fact  abundantly  proved  by  the  rare  beauty  of  his  backgrounds 
and  the  excellent  sketches  in  chalk,  made  in  his  leisure  hours. 


HOPPNER.  JOHN,  R,  A. 


Portrait  of  a  Young  GirL 


The  face  here  portrayed  is  full  of  smiling  mischief.  The  light 
in  the  blue  eyes  as  well  as  the  curves  of  the  delicate  mouth 
bespeak  a  sunny  disposition.  The  brown  curls,  which  shade  the 
face,  are  surmounted  by  a  large  hat  with  a  band  of  blue.  The 
white  shawl,  worn  over  a  drapery  of  black,  is  fastened  at  the 
waist  by  a  girdle  of  deep  turquois  blue,  a  touch  of  color,  which 
serves  to  light  up  the  otherwise  neutral  tints  of  the  picture.  The 
background  shows  dark  foliage  against  a  blue  sky. 


Size  30x25. 


PORTRAIT  OF  A  YOUNG  GIRL. 


Opie*  John^  A* 

May  176 J -April  9,  J 807. 


Born  near  Truro,  Cornwall.  He  had  already  shown  an  attach- 
ment to  art,  when  he  was  accidentally  discovered  by  Dr.  Wolcott 
(Peter  Pindar),  under  whose  auspices  he  visited  London  in  J  780, 
and  was  known  as  the  "Cornish  Wonder."  His  earliest  efforts 
were  extraordinary  productions,  marked  by  the  same  vigor  and 
truthfulness  of  expression  which  distinguished  his  later  works. 
His  portraits  are  expressive  of  identity  and  truth,  rather  than  of 
dignity  or  grace,  and  the  best  of  his  historical  and  romantic  sub- 
jects show  a  curious  sense  of  style,  lacking  in  many  such  pictures 
of  the  period.  He  took  part  in  the  illustration  of  Boydell's 
Shakspere,"  Bowyer's  "English  History"  and  Macklin's  "Poets" 
and  "Bible",  and  was  also  elected  Professor  of  Painting  in  the 
Royal  Academy,  1806. 


OPIE.  JOHN,  R.  A. 


Portrait  of  Lady  Hamilton^ 


The  face  of  Lady  Hamilton,  which  is  here  upturned  as  if  to 
meet  the  gaze  of  someone  beyond,  stands  out  in  clear  relief  against 
the  dark  background,  and  is  lit  up  with  an  expression  of  wonderful 
sweetness.  Her  dark  chestnut  hair  is  encircled  by  a  band  of 
white;  her  gown  is  also  white.  She  holds  by  the  hand  a  little 
boy,  whose  vivid  complexion  and  auburn  hair  relieve  the  broad 
and  pronounced  lights  and  shadows  of  this  picture. 

Engraved.  Size  4 1 x  3 1  >^ . 


LADY   HAMILTON   AND  CHILD, 


Opie*  John^ 

Continued, 


OPIE.  JOHN,  R,  A. 


Portrait* 


The  face  here  represented  in  three-quarter  profile  is  that  of  a 
young  man,  upon  whose  forehead  hair  of  a  dark  hue  grows  low. 
Well-arched  brows  surmount  blue  eyes;  the  face  is  clean  shaven, 
though  the  upper  lip  is  slightly  shaded;  the  chin  and  mouth  are 
firm.  The  creamy  tint  of  the  neck-cloth  throws  into  prominence 
the  flesh  tints  of  the  face,  while  soft  ruffles  fall  over  the  hands^ 
crossed  in  front. 


Size  30x25. 


I 


JOHN  OPIE,  R.  A. 

30  X  25 


PORTRAIT. 


John^  A* 

Continued. 


OPIE.  JOHN,  R.  A. 


The  Ballad  Singer* 


The  richly  contrasting  tones  of  this  picture  make  it  an  excel- 
lent example  of  Opie's  power  as  a  colorist.  The  background  is 
dark,  but  a  strong  light  is  thrown  upon  the  lower  part  of  the 
woman's  face,  as  it  appears  from  under  the  poke-bonnet  with  its 
white  ruche.  Her  eyes  and  forehead  are  painted  in  deep  shadow. 
Her  lips  are  parted  as  if  in  song,  which  has  lulled  into  a  dream- 
less sleep  the  baby,  who  rests  its  chubby  face  upon  her  left 
shoulder.  The  child's  blue  frock,  whose  short  sleeves  reveal 
dimpled  arms,  forms  a  good  contrast  to  the  dark  red  of  the 
mother's  shawl. 


Size  30x26. 


JOHN  OPIE,  R.  A. 


THE  BALLAD  SINGER 


Morland*  George^ 


June  26,  1 763 -October  29,  J 804. 


His  early  youth  gave  evidence  of  strong  artistic  power,  which 
was  more  and  more  marked  as  time  advanced,  but  whose  full 
exercise  was  hindered  by  indulgence  in  habits  of  dissipation.  In 
his  lifetime  the  demand  for  his  pictures  was  almost  inexhaustible. 

Though  his  tastes  were  coarse,  he  selected  pleasing,  if  homely, 
subjects  for  most  of  his  pictures,  and  his  execution  is  always  light 
and  dexterous.*'  He  was  a  facile  worker,  and  his  works,  though 
lacking  in  subtlety  of  feeling  and  character,  are  equally  luminous 
in  the  lights  and  shadows,  and  show  the  advantage  of  "onceness" 
of  execution.  As  a  painter  of  rustic  subjects,  he  has  attained 
almost  unexampled  popularity,  and  has  had  this  influence  upon 
the  progress  of  English  art,  that  he  showed  there  was  a  store  of 
subjects  in  his  native  surroundings  and  a  public  to  appreciate  them. 


MORLAND.  GEORGE, 


Noonday^ 


To  the  right  of  the  picture  rises  a  sloping  hillside,  upon  which 
stands  a  cottage,  its  thatched  roof  hardly  distinguishable  from  the 
green  depths  of  the  forest  behind.  Upon  the  gnarled  roots  of  a 
fine  old  beech  tree,  which  fronts  the  cottage,  rests  the  laborer  at 
the  noon-hour.  His  wife  has  brought  to  him  their  child,  while  in 
the  doorway  of  the  cottage  sits  the  grandmother,  looking  out  upon 
the  trio.  To  the  left  of  the  picture,  the  soft  clouds  are  breaking 
overhead,  and  the  sunshine  lights  up  the  mossy  slope.  The 
foliage  is  somewhat  sombre,  but  is  relieved  by  the  touches  of 
vivid  blue  and  green  in  the  garments  of  the  figures  introduced. 


Exhibited  in  the  Exhibition  of  Old  Masters  at  the  Royal 
Academy  in  J  876. 


Size  J5^  X  12}4. 


Morland.  George^ 

Continued. 


MORLAND.  GEORGE, 


Contentment* 


In  this  picture  only  the  gray,  cloud-swept  sky  and  the  branches 
of  two  fine  old  beeches,  from  which  the  dead  leaves  arc  falling, 
combine  to  give  an  idea  of  unrest  and  motion.  All  else  is  sug- 
gestive of  unthinking,  idle  contentment.  Within  the  limits  of  a 
rough,  wooden  fence,  whose  gate  lies  in  deep  shadow,  are  three 
pigs.  Upon  them  the  light  is  centered;  two  are  lazily  dozing 
upon  the  straw-strewn  ground,  the  third  is  enjoying  a  green 
cabbage,  looking  all  the  while  with  a  side-long  glance  upon  his 
sleeping  companions. 


Size  30x24^. 


Exhibited  at  the  World^s  Columbian  Exposition,  1893. 


I 


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Morland*  George^ 

Continued. 


MORLAND.  GEORGE, 


Interior  of  a  Stable^ 


This  picture  is  considered  by  some  as  one  of  the  artist's  best 
productions,  and  is  an  example  of  his  usual  selection  of  subject. 
While  the  whole  stable  is  in  deep  shadow,  a  strong  light  is  thrown 
upon  the  figure  of  the  horse,  as  he  stands  eating  his  noonday- 
meal,  and  brings  into  prominence  the  shaggy  hair  upon  his  fore- 
legs, as  well  as  the  somewhat  rustic  harness.  To  the  right  may 
be  seen  the  carter,  as  he  leans  upon  his  horse,  looking  at  his  two 
dogs,  as  they  tumble  in  the  hay.  The  whole  picture  is  suggestive 
of  a  lull  in  the  activities  of  life. 


Size  29^  x20^ 


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Morland^  George, 

Continued. 


MORLAND.  GEORGE, 


Portrait  of  H«  Wright,  Esqrc* 


The  face  upon  the  canvas  is  that  of  a  genial  country  squire, 
upon  whose  cheek  glows  the  hue  of  health.  The  gray-white 
hair  seems  to  be  rapidly  vanishing  from  the  forehead,  the  eyes 
are  of  a  clear  blue  color,  the  face  clean  shaven,  and  the  mouth 
firm,  while  the  chin  is  slightly  raised  over  a  bow  of  white  lawn, 
which  rests  upon  a  striped  neck-cloth  of  blue  and  cream.  The 
velvet  coat  of  dark  blue  tone  is  adorned  with  large  gilt  buttons. 
The  plump  right  hand  holds  a  landscape,  which  bears  the  signa- 
ture, ^*G.  Morland,"  the  gloved  left  hand  has  in  its  grasp  the 
other  glove  and  a  rough  stick  with  a  curved  handle.  The  back- 
ground of  the  picture  is  dark. 


Size  30x25. 


GEORGE  MORLAND. 


3°  2^  25 


PORTRAIT  OF  H.  WRIGHT,  ESQ. 


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Lawrence*  Sir  Thomas^  A* 

May  4,  1769 -January  7,  1830. 


Was  influenced  in  the  early  portion  of  his  life  by  Sir  Joshua 
Reynolds^  and  after  an  attempt  at  classical  art,  devoted  himself  to 
portrait  painting.  He  was  appointed  painter  in  ordinary  to  the 
King  in  1792,  having  been  made  two  years  earlier  an  Associate 
of  the  Royal  Academy,  in  which  he  was  a  constant  exhibitor  from 
1798  until  the  close  of  his  life.  He  was  elected  President  of  the 
Royal  Academy  in  1820,  as  a  successor  to  West,  and  between 
1825  and  1830  exhibited  some  of  his  finest  works.  No  English 
painter,  save  perhaps  Reynolds,  has  been  happier  in  his  portrayal 
of  groups  of  mothers  and  children  in  all  their  beauty  and  vivacity. 
He  adopted  a  distinct  and  characteristic  style  of  his  own,  encour- 
aging more  careful  drawing  and  avoiding  the  use  of  bad  vehicles 
and  faulty  pigments,  which  wrought  such  havoc  among  Reynolds' 
works.  Of  him  Howard,  R.  A.,  writes  as  follows:  **In  vivid  and 
varied  characters,  he  (Lawrence)  has  perhaps  no  rival,  and  may 
be  said  to  have  enlarged  the  boundaries  of  his  art,  changing  by 
degrees  the  character  of  our  annual  exhibitions.'*  The  Waterloo 
Gallery  at  Windsor  contains  some  of  his  finest  works. 


LAWRENCE.  SIR  THOMAS,  R  R.  A. 


Miss  Barron, 


Afterwards  Mrs.  Ramsay. 


The  face,  under  the  broad-brimmed  hat  with  its  nodding  white 
plumes,  is  one  expressive  not  alone  of  sweetness  but  of  animation. 
The  pointed  chin  adds  a  touch  of  piquancy,  while  the  delicately 
curved  upper  lip  betokens  a  high-bred  sensitiveness.  The  dark 
hair  is  parted  in  soft  curls.  The  pose  of  the  figure  is  graceful 
and  unconventional;  the  right  arm,  painted  in  strong  shadow,  is 
encircled  by  a  bracelet  of  pearls;  the  left  is  raised  easily  to  lay 
hold  upon  a  mantle  of  red,  the  one  touch  of  rich  color  in  the 
picture,  for  the  simple  gown  is  white.  The  landscape,  which 
forms  the  background,  is  touched  in  many  places  with  blue,  which 
gives  good  contrastive  tone  to  the  painting. 


Size  44^  x25j4. 


MISS  BARRON 


i 


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7 


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Lawrence.  Sir  Thomas,  P,  R. 

Continued. 


LAWRENCE.  SIR  THOMAS,  P.  R.  A. 


Marchioness  of  Ely* 


The  background  of  this  picture  is  a  dark  sky,  broken  to  the 
left  by  one  rift  of  light.  To  the  right  is  a  column  of  white 
marble;  near  this  the  Marchioness  stands,  her  right  arm,  over 
which  is  thrown  a  scarf  of  amethystine  hue,  resting  upon  a  stone 
balcony.  Her  hair  is  blue-black,  her  eyes  blue,  while  her  rosy 
lips  are  somewhat  full  in  their  curves.  Her  white  empire  gown 
is  decollete,  and  unadorned  save  by  a  large  amethyst  brooch, 
which  serves  to  hold  in  its  place  a  crimson  flower,  the  one  touch 
of  brilliant  color  in  the  picture. 


Size  30Xx25>^. 


SIR   THOMAS   LAWRENCE,  P,  R,  A  joi/^  x  25^ 


MARCHIONESS  OF  ELY. 


Lawrence*  Sir  Thomas,  P*  R*  A* 

Continued. 


LAWRENCE.  SIR  THOMAS,  P.  R.  A. 


Lady  Dunmorc^ 


In  this  picture  everything  combines  to  produce  an  effect  of 
richness  and  depth  of  color.  The  gown  of  deep  red  velvet  with 
its  jewelled  clasp  forms  a  contrast  to  the  mantle  of  ermine,  which 
enwraps  the  lady's  shoulders.  From  her  black  hair,  which  is 
massed  high  upon  her  head,  a  cache- peigne  of  delicate  lace  falls 
to  her  shoulders,  while  a  string  of  pearls  adorns  her  queenly 
throat.  Her  eyes  are  dark  and  almond-shaped,  her  lips  well  cut, 
her  chin  tapering  with  a  suggestion  of  fullness  beneath  it.  Her 
right  arm,  encircled  at  the  wrist  by  a  bracelet  of  pearls,  rests  upon 
a  table,  and  in  her  hand  she  holds  an  open  book. 


Size  50x40. 


LADY  DUNMORE. 


Lawrence,  Sir  Thomas,  P.  R. 

'  Continued. 


LAWRENCE.  SIR  THOMAS,  R  R.  A. 


Portrait  of  Canova^  the  Sculptor^ 


The  general  tone  of  this  portrait  is  dark,  relieved  only  by  a 
rift  of  clear  blue  sky  seen  to  the  left  of  the  picture.  The  sculptor 
is  seated  in  a  large  arm-chair,  a  letter  held  in  his  left  hand. 
His  cloak  of  red  velvet  with  its  border  of  sable  is  open  at  the 
throat,  and  reveals  a  carefully-adjusted  white  neck-cloth.  All  the 
lines  of  the  well-set  head,  seen  in  three-quarter  profile,  mark  the 
man  of  rare  attainment.  The  hair  is  dark,  the  brows  well  defined, 
the  nose  slightly  aquiline,  while  the  thin  upper  lip  gives  an  expres- 
sion of  refined  delicacy  to  the  face. 

Size  42  X  34. 

Exhibited  at  the  Midland  Counties^  Art  Museum,  Nottingham 
Castle,  in  J 88 1. 


CANOVA. 


Barker*  Thomas^  (Barker  of  Bath)* 

1769 -J  847, 


In  drawing  and  painting  Barker  never  took  a  lesson,  yet  his 
numerous  productions  cover  almost  the  entire  range  of  subjects, 
and  show  abundant  marks  of  genius,  being  bold  and  firm  in  out- 
line and  correct  in  drawing.  In  early  years  he  copied  the  works 
of  old  Dutch  and  Flemish  masters,  and  later  visited  Rome.  He 
was  an  occasional  exhibitor  at  the  Royal  Academy,  and  at  the 
British  Institution  for  nearly  half  a  century,  and,  while  in  full 
vigor,  no  artist  stood  higher  in  popular  favor. 


BARKER.  THOMAS,  (BARKER  OF  BATH). 


The  Shepherd  Dog* 


The  shepherd,  a  hardy  Highlander,  has  left  his  flock,  which 
may  be  seen  in  the  distance,  and  has  paused  to  administer  well- 
merited  punishment  to  the  collie,  who  has  evidently  forgotten  his 
duty,  and  injured  instead  of  protecting  two  lambs.  The  shepherd 
has  gathered  them  in  his  arms,  as  if  to  care  for  them;  near  at 
hand  stand  two  old  sheep  with  heavy  fleeces,  who  are  tending 
their  young. 

To  the  left  of  the  picture,  the  dark  stormy  sky  has  just  broken, 
and  through  the  rift  a  gleam  of  light  is  seen,  which  adds  a  touch 
of  silver  to  the  parting  clouds.    All  else  is  dark  and  sombre. 


Painted  in  }837,  and  signed. 


Size  26x\9. 


i 


Crome*  John,  (Old  Cromc)* 

December  2J,  J 769 -April  22,  1 82 1. 


As  a  youth,  Crome  struggled  against  difficulties  of  poverty  and 
lack  of  education,  but  under  the  patronage  of  Sir  William  Beechey, 
he  was  enabled  to  satisfy  to  some  degree  his  thirst  for  art.  He 
received  commissions  for  paintings  chiefly  throughout  Norfolk,  and 
was  the  founder,  in  his  native  town,  of  the  only  English  local 
school  of  painting  of  any  importance.  This  was  "The  Norwich 
Society  of  Artists,"  men,  who  in  1803  formed  themselves  into  a 
body  for  the  purpose  of  encouraging  a  love  of  the  fine  arts  and 
promoting  artistic  culture.  Of  this  society  Crome  was  in  18 JO 
made  President. 

His  landscapes,  generally  embracing  a  far-reaching  view  of 
heath  and  hill,  were,  for  the  most  part,  painted  in  oil  in  his  own 
studio  from  careful  studies  and  sketches  from  nature,  with  every 
detail  of  sky,  stream  and  foliage  perfectly  filled  in,  the  fruit  of 
wonderful  powers  of  observation  and  a  keen  appreciation  of  the 
beauty  of  his  surroundings.  He  seems  to  have  founded  his  art 
on  that  of  Hobbema,  Ruysdael  and  the  Dutch  School,  but  had  a 
finer  sense  of  generalized  imitation  and  less  finesse  of  execution 
than  they,  for  the  most  part,  possessed,  although  his  power  of 
rendering  individuality  of  foliage  is  very  marked. 


CROME.  JOHN,  (OLD  CROME). 


The  Edge  of  the  Wood^ 


The  wood,  which  lies  to  the  left  of  the  picture,  is  painted  in 
deep  shadow,  save  where  a  gleam  of  golden  sunshine  illumines 
the  light  foliage  of  the  trees  on  the  border  of  the  meadow.  In 
the  half  darkness  of  fast  approaching  twilight  may  be  seen  a  few 
sheep  browsing,  while  two  figures  are  discerned  crossing  the  field 
to  the  right  of  the  picture.  The  shades  of  night  are  quickly 
gathering,  and  only  a  faint  golden  tinge  lights  up  the  western  sky, 
bringing  into  contrast  the  peaceful  stretch  of  country  and  the  dark 
wooded  glades. 

Panel.  Size  21^  x  J6^. 

From  the  collection  of  Dawson  Turner,  Esq.  of  Norwich, 
England,  who  purchased  it  from  the  artist. 


Crome*  John,  (Old  Crome)* 

Continued. 


CROME.  JOHN,  (OLD  CROME). 


Landscape* 


To  the  right  of  the  picture,  under  a  sky  of  leaden  hue,  rise 
rolling  dunes,  their  summit  crowned  with  a  windmill,  whose 
spreading  arms  stand  out  in  clear  outline.  Along  the  horizon  the 
gray  sky  becomes  luminous  above  the  open  sea,  just  visible  beyond 
a  promontory  to  the  left.  In  the  foreground  the  warm  color  of 
the  nearer  dunes  forms  a  contrast  to  the  colder  tints  of  sky  and 
sea,  while  the  farmhouse  with  its  red-roofed  outhouse,  seen  at 
middle  distance,  adds  yet  another  tone.  A  few  figures  are  faintly 
discernible  in  the  distance,  and  in  the  little  cove  below,  at  the 
water's  edge,  is  harbored  a  small  boat,  its  mast  and  sail  rising 
against  the  sky. 


Size  27x20 


Phillips^  Thomas,  A» 

October  18,  J 770 -April  20,  1845. 


He  came  to  London  in  J  790  with  a  letter  of  introduction  to 
Benjamin  West,  who  employed  him  in  the  execution  of  his  designs 
for  the  windows  of  St.  George^s  Chapel,  Windsor.  His  works 
were  at  first,  for  the  most  part,  historical  attempts,  but  from  J  794 
portraiture  was  his  chief  pursuit,  and,  although  not  without  many 
rivals,  he  industriously  made  his  way.  In  1808  he  was  elected  a 
Royal  Academician,  and  in  1824,  the  Academy  Professor  of  Paint- 
ing. Though  he  takes  no  rank  as  a  colorist,  a  pleasant  tone 
pervades  his  works.  His  portraits  are  characterized  by  simplicity 
of  style  and  truthful  finish.  He  has  preserved  for  us  many  of 
the  most  distinguished  in  art  and  literature. 


PHILLIPS.  THOMAS,  R.  A. 


Thomas  Moore^ 


This  represents  Moore  as  a  young  man.  The  bright  dark 
eyes,  set  under  well-defined,  black  brows,  and  the  curves  of  the 
mobile  mouth  denote  the  Irishman  as  well  as  the  poet.  The  vivid 
tones  of  his  complexion  are  enhanced  by  the  black  coat  and  stock, 
unrelieved  by  any  color,  save  the  touch  of  white  in  collar  and  shirt. 

Size  29x24. 

This  portrait  was  exhibited  at  Exhibition  Palace,  Dublin. 

r 


A  brief  account  of  the  life  of  Joseph  Mallord  William  Turner 
is  here  inserted,  in  order  that  his  influence  upon  the  progress  of 
Art  may  be  the  more  readily  understood  and  measured. 


Turner^  Joseph  Mallord  William,  A* 

April  23,  1 775 -December  19,  185 J. 

While  Maiden  Lane  in  the  heart  of  England's  great  metropolis 
might  not  be  considered  the  best  soil  to  produce  a  landscape 
painter,  or  stimulate  his  growth,  yet  here  Turner  passed  his  child- 
hood. From  here  he  wandered  down  to  look  upon  the  broad 
river  (not  yet  spanned  by  so  many  bridges  nor  cumbered  with 
steamboats),  fostering  continually  his  love  for  river  scenery  and 
for  the  quaint  and  picturesque  architecture  of  old  cities.  How 
soon  his  taste  for  art  revealed  itself  is  not  accurately  known,  but 
when  only  fourteen  he  was  admitted  as  a  student  of  the  Royal 
Academy,  and  a  year  later  exhibited  upon  its  walls.  He  was 
ever  diligent  in  his  profession,  and  strove  to  widen  the  field  of  his 
study,  early  beginning  a  practice,  which  he  never  resigned,  that 
of  sketching  from  nature,  using  every  method,  but  rarely  the 
medium  of  oil.  These  two  characteristics,  the  water-color  tendency 
of  his  art  and  the  constant  recurrence  to  nature,  are  the  key  to 
the  work  of  his  later  years.  "His  sketches  show,  that  he  was  a 
most  able  and  ready  draughtsman,  who  strove  always  to  give  the 
right  treatment  to  his  figures — the  true  effect  of  light,  sun  and  air, 
their  true  keeping  in  the  picture,  and  the  indefinite  mystery  of 
sunshine  upon  them,  rather  than  to  define  their  forms  or  complete 
their  outline."  That  he  was  appreciated,  even  by  the  critics,  from 
the  commencement  of  his  career,  is  proved  by  his  election  as 
Associate  of  the  Royal  Academy  at  the  very  earliest  period,  when 


according  to  the  rules  he  could  be  chosen,  and  his  elevation  to 
full  membership  when  only  twenty-six  years  of  age,  as  well  as  by 
the  hearty  words  of  commendation  from  many  of  his  brother 
artists.  Of  him  Leslie  writes:  "Turner  is  my  great  favorite  of 
all  the  painters  here.  He  combines  the  highest  poetical  imagina- 
tion with  an  exquisite  feeling  for  all  the  truth  and  individuality  of 
Nature;  and  he  has  shown,  that  the  ideal,  as  it  is  called,  is  not 
the  improving  of  Nature,  but  the  selecting  and  combining  objects 
that  are  most  in  harmony  and  character  with  each  other.'^  He 
loved  to  represent  some  evanescent  effect,  a  flood  of  sunshine,  some 
wrack  of  clouds,  some  passing  shower,  and  for  this  purpose  found 
no  medium  equal  to  that  of  water-color.  By  his  wonderful  knowl- 
edge of  the  application  of  hot  and  cold  colors  he  was  able  to 
break  away  from  the  practice  of  making  the  foreground  of  a 
landscape  always  dark;  he,  on  the  contrary,  preferred  to  place  his 
dark  in  the  distance,  while  the  foreground  gleamed  in  golden 
sunlight.  In  some  of  his  oil  paintings  time  has  worked  havoc 
from  his  pernicious  habit  of  using  treacherous  pigments  and  ming- 
ling those  of  different  natures  in  the  same  picture.  Yet  even  in 
these  cases  wonderful  tints  here  and  there  speak  to  the  eye, 
showing  through  the  faded  glazings,  with  which  they  were  once 
enriched.  And  because  the  suggestiveness  of  a  work  of  art  is  one 
of  its  richest  qualities,  the  veriest  blot  of  Turner  is  suited  to 
suggest  more  than  the  most  finished  picture  of  imitative  details. 
The  close  of  his  life  was  eminently  characteristic;  his  last  days 
were  spent  in  a  cottage  on  the  Thames,  from  whose  windows  he 
could  look  out  upon  his  beloved  river,  and  watch  the  ever-changing 
tints  of  sky.  Here  his  death  occurred  on  December  19,  1 85 1,  and 
from  hence  his  body  was  conveyed  to  his  house  in  Queen  Anne 
Street  West,  London,  and  thence  to  the  Crypt  of  St.  Paul's. 


Constable*  John^  R«  A* 

June       1 776 -April  I,  J  837. 


Was  born  at  East  Bergholt,  Suffolk,  and  commenced  his  artistic 
career  in  1799,  as  a  portrait  painter,  then  the  only  profitable  branch 
of  art.  In  1802  he  exhibited  Landscape/*  and,  gaining  a 
consciousness  of  his  own  power,  resolved  to  study  nature.  His 
works  were  for  many  years  not  appreciated,  and  he  was  fifty-three 
years  of  age  before  he  was  elected  a  full  member  of  the  Royal 
Academy.  He  was  first  widely  esteemed  in  France,  and  did  much 
to  influence  French  landscape  painting.  His  friend  and  biographer, 
Leslie,  R.  A.,  thus  writes  of  his  works:  "I  cannot  but  think, 
that  they  will  attain  for  him,  when  his  merits  are  fully  acknowl- 
edged, the  praise  of  having  been  the  most  genuine  painter  of 
English  landscape,  that  has  ever  yet  lived,"  a  prophecy,  which  has 
already  been  fulfilled,  since  his  reputation  as  one  of  the  first 
English  landscape  painters  is  now  firmly  established  never  to  be 
shaken.  His  works  are  purely  original;  hitherto  painters  had 
usually  painted  with  the  sun  behind  their  backs,  or  perchance  with 
the  sun  in  the  picture,  slowly  sinking  in  the  low  horizon.  Con- 
stable, on  the  contrary,  loved  to  paint  under  the  sun,  and  his 
pictures  are  rich  in  that  glitter  and  sparkle  of  white  lights  upon 
the  foliage,  which  was  nicknamed  Constable's  snow."  His  skies 
are  generally  masses  of  warm  gray  with  edges  of  silver,  and  here 
and  there  a  rift  showing  the  deep  blue  beyond,  since  he  was 
conscious,  that  such  skies  produce  the  contrasts  of  warm  gold  and 
cool  gray,  of  deep  blue  and  brilliant  emerald,  which  are  the 
characteristics  of  English  pastoral  scenery.  His  landscapes,  in 
which  mills,  weirs  and  dykes  are  prominent  objects,  are  the 
representations  of  England  in  all  her  plenitude  of  picturesque 
beauty,  of  English  nature,  not  "trimmed  and  frounced,"  but  as  it 
holds  its  own  on  wild  heaths  or  ferny  commons. 


CONSTABLE.  JOHN,  R.  A. 


Hampstcad  Heaths 


In  this  picture  the  sky,  with  its  masses  of  cloud  of  uneven 
shape  and  varied  hue,  is  truly  characteristic  of  the  artist.  In  the 
immediate  foreground  a  shepherd  is  seen  driving  his  flock  home- 
ward. To  the  right  rises  the  upland  with  its  tawny  overgrowth, 
to  the  left  is  a  clump  of  darker  brushwood.  In  the  distance  may 
be  seen  Dedham  Church,  and  far  beyond  the  heath  stretches 
onward  to  the  horizon.  The  landscape  is  true  in  color,  and  as 
free  from  affectation  and  mannerism  as  nature  itself. 


From  the  Murietta  Collection,  formerly  in  the  possession  of 
the  Marchesa  De  Santuse.  Exhibited  at  the  World's  Columbian 
Exposition,  1893. 


Size  I9>^xJ6. 


I 


Callcott*  Sir  Augustus  Wall,  R*  A» 

February  20,  J  779  -  November  25,  1844. 


Studied  under  John  Hoppner,  giving  his  attention  at  first  to 
portraiture.  A  brief  experience,  however,  led  him  to  devote  him- 
self exclusively  to  landscape  painting,  the  true  bent  of  his  genius, 
and  his  early  Dutch  and  English  landscapes  are  among  his  best 
works.  They  show  great  purity  of  tone  and  color,  and  represent 
Nature  in  her  most  placid  and  gentle  moods.  His  marine  pictures, 
though  beautiful  by  reason  of  the  selection  of  objects,  are  some- 
times monotonous  in  color.  His  Italian  landscapes,  marked  by  a 
tendency  in  the  direction  of  Claude  Lorrain,  charm  by  their 
graceful  composition  and  tasteful  rendering.  Callcott  was  elected 
a  Royal  Academician  in  J 8 JO.  He  is  sometimes  called  *^the 
English  Claude." 


CALLCOTT.  SIR  AUGUSTUS  WALL,  R.  A. 


Warwick  Castle^ 


In  the  background  rises  the  castle,  wrapped  in  the  blue  haze 
of  morning,  yet  standing  out  against  the  pale  sky,  with  its  light 
summer  clouds.  To  the  right  the  sun  throws  a  mellow  light 
upon  a  group  of  trees,  while  in  the  foreground,  where  a  meadow 
slopes  down  to  meet  a  stream  of  green-blue  water,  there  stands  a 
man  busy  with  the  horses,  which  have  been  allowed  to  pasture 
there.  To  the  left  a  boy  is  steering  his  boat  down  the  stream, 
towards  where  a  group  of  trees  cast  long  shadows  on  the  grass. 
The  vista  narrows,  until  it  is  crossed  by  a  wooded  terrace,  adding 
many  another  tint  to  the  already  rich  variety  of  green. 

From  the  Collection  Lucy,  Size  36x28. 


1 


> 

33 

o 

7^ 


j 


Callcott^  Sir  Augustus  Wall^  R»  A* 

Continued. 


CALLCOTT.  SIR  AUGUSTUS  WALL,  R.  A. 


View  of  Greenwich* 


While  in  the  distance  may  be  seen  the  outline  of  many  a 
building,  the  interest  of  the  picture  centers  round  that  portion  of 
the  river,  which  occupies  the  foreground,  and,  mirror-like,  reflects 
the  image  of  the  crafts  upon  its  smooth,  unruffled  surface.  To 
the  right  may  be  seen  a  vessel  with  sails  full  spread,  and  near 
it  a  smaller  boat  is  moored,  as  if  for  the  purpose  of  unloading. 
In  the  immediate  foreground  the  eye  is  attracted  to  two  small 
rowboats,  each  with  a  single  occupant.  The  one  is  making  its 
way  towards  the  larger  vessel,  the  other  returning  therefrom,  but 
for  the  present  the  rowers  seem  content  to  ship  their  oars,  and 
indulge  in  a  brief  conversation.  The  face  of  the  woman  may  be 
well  distinguished,  while  that  of  the  man  is  turned  to  greet  her. 
The  blue  sky  immediately  overhead  fades  out  to  white  upon  the 
horizon,  and  is  lightly  touched  with  a  dark,  smoke-like  vapor, 
while  in  the  distance,  to  the  left  of  the  picture,  the  line  of  the 
shore  is  faintly  discernible. 


Size  22%:  X  18^ 


Cotman*  John  ScII^ 


1782- J  842. 


Cotman  exhibited  in  the  Royal  Academy  during  the  years 
1 800 -1 806,  but  returned  to  Norwich,  where  he  became  a  member 
of  the  Norwich  Society  of  Artists,  and  Vice-President  of  the  same 
in  1 810.  His  landscapes  and  marine  pieces,  whether  in  oil  or 
water-color,  are  broad  and  masterly  in  their  treatment.  His  light 
and  shade  are  good,  and  his  coloring  rich,  though  a  hot  yellow 
occasionally  predominates.  In  his  water-colors,  details  were 
frequently  added  with  a  reed  pen.  One  of  his  critics  has  said 
justly,  that  "he  had  the  happy  and  unusual  knack  of  converting 
the  dryest  architectural  subjects  into  pictures  by  an  artist-like 
distribution  of  light  and  shade,  by  the  arrangement  of  subordinate 
objects,  and  by  the  pleasant  introduction  of  accessories." 


COTMAN.  JOHN  SELL, 


Signal  Tower  at  Yarmouth* 


In  the  distance  is  the  Signal  Tower,  with  the  undulating  line 
of  shore  beyond,  softly  outlined  through  the  misty  atmosphere.  In 
the  foreground  are  several  herring  boats,  their  sails  of  warm 
brown  tint  mingling  contrastingly  with  the  golden  warmth  of  the 
sky.  The  details  of  mast  and  rigging  are  painted  in  the  effective 
style,  which  so  greatly  distinguished  all  Cotman's  work.  The 
picturesque  figure  of  a  fisherman  is  seen  in  the  immediate  fore- 
ground, as  he  drags  his  net  along  the  shore  towards  his  boat. 
Notwithstanding  the  activity  shown  in  the  foreground,  there  is  a 
noticeable  space  and  stillness  in  this  picture  and  the  breadth  and 
large  effectiveness,  which  are  the  characteristics  of  this  artist. 

Size  21  X  16. 

From  the  collection  of  Frederick  Chapman,  Esq.,  of  Dudley 
Hall,  Gloucestershire,  England. 


Wilkie.  Sir  David,  R.  A. 

November  18,  J 785 -June  I,  1 84 1. 


Was  born  at  Cults,  Fifeshire,  Scotland.  From  early  youth  he 
evinced  a  love  of  art  so  keen,  that  his  father  placed  him  in  the 
Trustees'  Academy  in  Edinburgh  in  1799.  Here  he  worked 
faithfully,  and  his  first  picture,  "Pitlassie  Fair,"  full  of  subjects  and 
figures,  shows  how  much  technical  skill  he  had  already  attained. 
Study  in  the  Royal  Academy,  and  in  France,  Italy  and  Spain 
added  a  rich  effectiveness  to  his  style,  while  it  may  have  robbed 
him  of  some  of  his  former  care  for  detail  and  local  and  individual 
truth.  He  was  elected  full  Academician  in  1811,  and  appointed 
Painter  in  Ordinary  to  the  King,  upon  the  death  of  Sir  Thomas 
Lawrence  in  1830.  A  pilgrimage  to  the  East,  to  seek  new  fields 
of  art,  was  closed  by  his  sudden  death,  which  occurred  at  sea. 

As  an  artist  he  was  truly  original;  his  early  pictures,  full  both 
of  humor  and  pathos,  attract  and  interest  the  unschooled  observer, 
while  by  their  art  and  finish  they  satisfy  the  critic  and  connoisseur. 
His  later  pictures  are  of  higher  aim,  and  depict  interests  and 
sentiments,  which  are  closely  allied  to  history.  His  finest  works 
are  rivals,  on  canvas,  of  the  poems  of  Robert  Burns  or  the  stirring 
incidents  of  Sir  Walter  Scott's  novels. 


WILKIE.  SIR  DAVID,  R.  A. 


Market  Day  at  St*  Andrews^  Scotland* 


The  glimpse  of  the  sea  in  the  distance  and  the  characteristic 
architecture  of  the  town  make  an  admirable  setting  for  the  figures 
and  scenes,  about  which  the  main  interest  of  the  picture  centers. 
Here  may  be  noted  the  linen-draper,  auctioneering  his  goods,  while 
in  the  foreground  a  countryman  bends  over  to  unpack  his  crockery, 
and  his  ^'gudewife**  concludes  a  bargain  with  a  couple,  whose 
festive  garb  marks  them  as  a  newly-wedded  pair.  To  the  left 
may  be  seen  the  never-failing  Italian  with  his  hand  organ  and 
monkey,  and  behind,  oblivious  of  all,  a  rustic  Corydon  and  Phyllis 
whisper  honeyed  secrets.  On  the  right  are  the  many  stalls,  where 
multifarious  bargains  may  be  struck;  foremost  of  all  the  shoemaker 
stands  prominent,  as  he  fits  a  shoe  to  a  fair  lady's  foot.  Close  at 
hand,  clad  in  national  costume,  stands  a  sturdy  Highlander,  dis- 
coursing sweet  music  upon  the  bagpipes.  Not  one  story,  but  many 
are  told  in  this  picture. 


From  the  collection  of  Alfred  Woodewiss,  Esq.,  of  Derby, 
England. 


Size  42}(  x25}4* 


Nasmyth*  Patrick^ 

January  17,  J 787 -August  17,  J83J. 


He  showed  an  early  and  decided  predilection  for  landscape 
painting,  neglecting  for  it  all  other  study.  He  first  exhibited  in 
the  Royal  Academy  in  1809,  and  became  a  member  of  the  Society 
of  British  Artists  in  1824.  The  character  of  his  landscapes  is 
entirely  English;  he  painted  English  nature  in  her  simplest  moods, 
yet  with  great  force  and  truth.  He  loved  to  depict  light  clouds, 
bright  sunshine,  smooth  water,  pattering  brooks,  village  hedgerows 
and  the  skirts  of  commons.  His  foliage  is  sometimes  over-detailed, 
but  the  execution  is  solid  and  satisfactory.  He  imitated  the  Dutch 
School,  taking  as  his  models  the  two  masters  thereof,  Hobbema 
and  Wynants. 


NASMYTH.  PATRICK, 


Dunkeld  Ferry^    View  on  the  Tay, 


Evening  is  approaching;  the  setting  sun,  which  adds  a  glory 
to  the  western  sky,  throws  a  strong  shadow  from  the  mighty  hills 
upon  the  clear  waters  below.  The  scene  is  one  of  quiet  majesty; 
on  either  side  the  giant  crags  rise  high;  to  the  right  their  summits 
mingle  with  the  dark  overhanging  clouds,  while  to  the  left  the 
view  is  more  open,  and  the  blue  sky  appears  through  the  rifted 
clouds.  A  well-laden  ferryboat  is  seen  in  the  shadow  near  the 
further  shore,  its  occupants  clad  in  costumes,  that  add  a  touch  of 
color  to  the  scene;  on  the  opposite  bank  a  group  of  men  stand 
ready  to  be  conveyed  across  the  placid  waters. 

From  the  Albert  Levy  Collection.         Size  25^xI9>^. 


1 

I 

i 

1 

i 

i 


J 

■.j 


Etty,  William,  R.  A. 

March  10,  1787  -  November  13,  1849. 


Was  a  constant  student  in  the  life-school  of  the  Royal  Academy, 
and  also  a  pupil  of  Sir  Thomas  Lawrence.  Although  his  first 
thought  had  been  to  paint  landscapes,  he  finally  determined  to 
devote  himself,  as  he  said,  to  God's  most  glorious  work.  Woman." 
In  J  822  he  visited  Italy,  finding  his  greatest  attraction  in  Venice, 
which  he  described  as  ''the  birthplace  and  cradle  of  color,  the 
hope  and  idol  of  my  professional  life,"  He  became  an  Academi- 
cian in  J  828,  and  studied  constantly  in  the  life-school  until  1848. 

Etty  is  an  example  of  the  power  of  unswerving  perseverance; 
his  earnest  study  of  the  nude  gave  him,  finally,  an  almost  unex- 
ampled success  in  imitating  flesh  both  in  color  and  texture.  His 
landscape,  although  only  an  accessory  and  background  to  his 
figures,  is  treated  with  a  largeness  of  imitation;  no  details  are 
given,  but  the  general  color  or  tone  of  nature,  in  true  accord  with 
the  subject,  is  most  happily  rendered.  His  love  of  art  was 
enduring,  and  the  crown  of  fame,  which  he  at  length  attained, 
proportionately  well-deserved. 


ETTY.  WILLIAM,  R.  A. 


This  picture,  which  represents  the  nude  form  of  a  woman  in 
a  recumbent  position,  is  characterized  by  the  finely  executed  flesh 
tints,  contrasted  so  ably  with  the  green  tone  of  the  couch  and  the 
dark  rich  red  of  the  drapery,  upon  which  reposes  the  head  with 
its  auburn  tresses.  The  figure  is  turned  slightly  to  the  left,  while 
the  weight  of  the  body  seemingly  rests  upon  the  right  elbow. 
The  head  is  thrown  back,  the  chin  being  thus  brought  into 
prominence,  and  the  eyes  are  closed.  The  dark  green  background 
to  the  right  is  relieved  and  contrasted  by  the  lighter,  somewhat 
indistinct  landscape  to  the  left. 


From  the  Deunestone  Collection. 


Size  251^  X  I9y2, 


! 
I 


Collins*  William^  A* 

September  J  8,  1 788  -  February  J  7,  1847. 


As  a  youth  he  was  influenced  by  George  Morland.  Was 
admitted  a  student  of  the  Royal  Academy  in  1807,  and  elected  an 
Academician  in  1820.  His  choice  of  subjects  was  always  happy; 
he  loved  to  paint  English  coast  scenes  and  landscapes,  into  which 
he  introduced  lifelike  rustic  groups,  and  upon  these  works  his  fame 
rests.  He  visited  Italy  for  two  years,  and  upon  his  return  his 
imagination  soared  to  higher  flights,  but  returned  ere  long  to  depict 
the  scenes,  which  he  had  always  loved. 

He  was  a  devout  imitator  of  Nature,  yet  rather  in  the  power 
of  his  generalization  than  in  detail.  He  was  a  somewhat  indifferent 
draughtsman,  but  a  good  colorist,  and,  in  the  handling  and  execution 
of  his  landscapes,  slightly  akin  to  Gainsborough. 


COLLINS.  WILLIAM,  R.  A. 


Children  Playing  with  a  Bird^s  Nest^ 


In  the  foreground  stands  a  stone  cottage,  its  window  opening 
outward.  Upon  the  wall,  near  the  door,  hangs  an  old-fashioned 
wicker  birdcage.  The  door  lies  in  deep  shadow;  upon  the  step  a 
mother  sits,  her  baby  standing  near  her.  The  mother's  eyes  rest 
upon  a  group  of  children,  clad  in  multi-colored  garments,  who  are 
playing  with  a  nest  full  of  young  birds.  One  boy  has  found 
another  interest,  and  with  an  expression  of  mischief  upon  his  face 
is  encouraging  a  small  dog,  who,  with  pointed  fangs,  is  meditating 
an  attack  upon  a  cat.  The  arched  back  and  tail  raised  stiffly 
suggest  that  his  feline  foe  is  ready  for  the  encounter.  The  back- 
ground of  the  picture  shows  an  outhouse  and  a  group  of  trees, 
massed  against  a  sky  of  dark  gray  tint. 


From  the  Charles  Wells  Collection. 


Size  2(>y2  x2I^. 


I 


Linton*  William^ 

1788  -  September  J8,  1876. 


Attracted  by  art,  he  studied  the  works  of  Claude  and  Wilson, 
and  exhibited  at  the  Royal  Academy  for  the  first  time  in  J8J7. 

He  was  a  landscape  painter  of  the  classic  or  ideal  school,  and 
visited  the  Continent  to  obtain  a  store  of  sketches,  upon  which, 
later,  his  pictures  were  composed.  He  exhibited  at  the  British 
Institution,  and  also  at  the  Society  of  British  Artists,  of  which  he 
was  one  of  the  founders.  He  was  also  known  as  an  authority 
upon  the  composition  of  painters'  pigments. 


LINTON.  WILLIAM, 


The  Mountain  Lake* 


From  the  high  plateau  in  the  foreground  is  seen  a  mountain 
lake,  whose  clear  depths  mirror  back  the  azure  sky,  as  well  as 
the  wooded  hills,  which  stand  like  sentinels.  To  the  left,  upon 
the  grassy  upland,  the  sheep  are  resting  under  the  noonday  sun. 
To  the  right,  upon  the  summit  of  the  highest  crag,  rises  a  castle, 
almost  lost  among  a  wealth  of  forest.  Along  the  water's  edge  are 
scattered  a  few  fishing  hamlets,  whose  boats,  upon  the  smooth 
surface  of  the  lake,  add  life  and  animation  to  the  scene.  In  the 
distance  the  mountains,  wrapped  in  purplish  vapor,  raise  to  heaven 
their  peaks,  capped  with  snow-white  clouds. 


Size  36x24. 


Inskipp*  James, 

1790 -1868. 


A  constant  contributor  to  the  Royal  Academy  and  the  Society 
of  British  Artists  of  works  both  in  oil  and  water-color.  His  first 
productions  were  landscapes,  followed  by  portraits  and  domestic 
subjects.  He  was  of  an  irritable  temper,  and  ill-fitted  to  contend 
with  the  trials  of  portrait  painting.  He  is  said  to  have  dismissed 
a  distinguished  sitter  on  the  second  sitting,  telling  him  with  an 
oath,  that  he  hated  him  and  would  not  paint  him. 


! 


INSKIPP.  JAMES, 


A  Surrey  Peasant  Girl  Returning  from  Markets 


The  blue  sky  of  the  background  is  streaked  with  long  gray  \ 

clouds.    In  the  middle  of  the  picture  is  a  group  of  straight  young  j 

trees,  against  which  stands  the  Surrey  peasant  girl,  a  tall,  lithe  J 

figure.    Under  the  black  broad-brimmed  hat,  whose  ribbons  are  j 

tied  under  a  chin  of  delicate  contour,  we  note  the  curling  raven  | 

hair  and  the  dreamy  dark  eyes  with  curved  lids.    Her  neck  is  j 

uncovered,  and  from  her  shoulders  falls  a  long  red  cloak,  which,  | 
as  it  hangs  apart,  discloses  a  large  basket,  carried  on  her  left  arm. 

The  gown  is  of  a  dull  olive  color.    The  tone  of  the  picture  is  I 

rich  and  soft.  1 


Size  50x40. 


JAMES  INSKIPP, 


A  SURREY  PEASANT  GIRL  RETURNING   FROM  MARKET. 


LinnelL  John, 

1792- 


He  showed  a  remarkable  aptitude  for  art  in  his  earliest  years^ 
and  by  the  advice  of  Benjamin  West^  became  a  student  of  the 
Royal  Academy  at  Somerset  House,  into  which  he  was  admitted 
in  1805.  He  was  both  a  portrait  and  landscape  painter,  his 
landscapes  being  always  markedly  expressive  of  sentiment  and 
feeling.  He  was  pre-eminently  a  colorist,  whose  fame  rested  chiefly 
on  his  warm  and  glowing  atmospheric  effects.  He  was  influenced 
by  the  study  of  the  Italian  School,  but  still  more  by  a  keen  and 
detailed  observation  of  Nature. 


LINNELL.  JOHN, 


Noonday^ 


In  this  picture  there  is  represented  a  landscape,  luminous  in 
the  full  glory  of  the  sun  at  midday.  All  is  light  and  brightness, 
save  where  a  large  oak,  with  wide-spreading  branches,  casts  broad 
shadows  over  the  meadow.  In  this  grateful  shade  the  shepherds 
are  resting  with  the  sheep,  while  in  the  distance  cattle  are  grazing. 
Far  away  the  blue  outline  of  the  hills  mingles  with  the  silvery 
white  clouds  to  form  the  horizon.  Everything  is  indicative  of  the 
hush  and  stillness,  which  are  all-pervasive  in  the  noontide  heat  of 
summer. 

From  the  John  Gibbons  Collection.       Size  24^x19^. 
Exhibited  at  the  Royal  Academy  in  1847. 


1 


Stanfield*  William  Clarkson,  R*  A* 

1794 -May  18,  1867. 


As  a  boy,  he  chose  the  marine  service  and  gained  some  prac- 
tical experience  as  a  seaman,  while  he  acquired  that  knowledge  of 
the  sea,  which  makes  his  marine  sketches  so  true  to  life.  Having 
been  disabled  by  a  fall,  he  turned  his  attention  to  art,  and  his 
reputation  as  a  marine  painter  grew  steadily.  He  exhibited  with 
the  Society  of  British  Artists,  at  the  British  Institution,  and  later  at 
the  Academy,  of  which  he  was  made  a  member  in  1835.  A  visit 
to  Italy  in  1 839  impressed  him  greatly,  and  Italian  scenery  formed 
the  subject  of  many  of  his  best  pictures.  He  was  a  master  of  his 
art,  adding  truthfulness  to  the  grandeur  of  his  marine  subjects. 


STANFIELD.  WILLIAM  CLARKSON,  R.  A. 


Coast  Scene* 


There  is  the  zest  and  flavor  of  old  Ocean  in  the  scene  here 
depicted.  In  the  distance  may  be  seen  a  rock-bound  coast,  and 
the  sails  of  ships  at  anchor,  while  in  the  foreground  the  surf 
breaks  high  upon  the  shore.  The  fishermen  have  drawn  their 
boats  high  and  dry  upon  the  beach,  and  their  darker  tones  contrast 
with  the  rich  yellow  of  the  sand.  A  touch  of  color  is  added  by 
the  red  roof  of  the  fisherman^s  hut,  which  stands  near  at  hand. 
The  sky  is  a  combination  of  tones  of  gray,  from  the  pearly  tint 
of  the  upper  heaven  to  the  heavier  clouds,  which  hang  below. 

Size  27  X  18. 


Stark*  James, 

November  19,  1 794 -March  24,  1859. 


Belonged  to  the  Norwich  School,  and  studied  under  Old  Crome, 
and  also  later  in  the  schools  of  the  Royal  Academy.  He  exhibited 
at  the  Norwich  Society  of  Artists,  at  the  Academy,  and  at  the 
British  Institution.  His  subjects  are  woodland,  river,  and  coast 
scenes,  which  are  truly  and  naturally  depicted,  though  sometimes 
lacking  in  richness  and  force. 


STARK.  JAMES, 


Near  Thorpe* 


ft 


White  clouds  float  in  the  pale  sky,  while  the  sunshine,  slanting 
through  the  green  trees,  adds  many  a  touch  of  gold  to  the  foliage, 
and  a  fresh  luster  to  the  silvery  bark  of  an  old  beech  tree  in  the 
foreground  of  the  picture.  The  broad  road,  which  leads  far  into 
the  forest,  is  bathed  in  sunshine,  broken  by  soft  shadows  cast  by 
the  overhanging  trees.  Just  emerging  from  the  green  depths  may 
be  seen  a  country  woman  with  blue  apron  and  folded  white 
kerchief,  who  leads  a  little  child  by  the  hand.  A  man,  on  horse- 
back, has  paused  before  the  door  of  a  cottage,  which  stands  almost 
hidden  by  a  bower  of  green,  the  blue  smoke  curling  from  its  red 
chimney.  Through  an  opening  in  the  trees  comes  a  glimpse  of 
the  blue  hills,  far  distant. 


Size  36  X  25. 


From  the  collection  of  Arthur  Anderson,  Esq. 


Stark*  James^ 

Continued. 


STARK.  JAMES, 


Landscape^ 


To  the  left  of  the  picture,  a  stream,  shadowed  in  the  fore- 
ground by  many  an  overhanging  tree  upon  its  borders,  pursues 
its  winding  course  between  open  meadows,  and  gives  back  the 
bright  reflection  of  the  sunny  sky.  To  the  right,  in  strong 
contrast  to  the  brilliant  heavens  and  open  country,  is  massed  the 
dark  foliage  of  a  deep  forest,  kissed  here  and  there  by  the  sun. 
A  winding  road,  marked  by  the  ruts  made  by  heavy  wheels,  enters 
the  wood,  but  is  soon  lost  in  its  depths.  By  the  rush-bordered 
margin  of  the  stream,  in  the  foreground,  a  boat  is  fastened,  its  two 
occupants  lazily  pursuing  the  angler's  craft. 


Size  2S%7i\Z%, 


1 


I 

( 
I 

j 

■ 


i 

1 

I 


i 

i 
I 


Herring*  John  Frederick, 

1 795  -  September  23,  1865. 


Was  the  son  of  American  parents,  and,  when  a  young  man, 
drove  the  coach  between  York  and  London.  He  devoted  his 
leisure  time  to  painting,  often  choosing  his  subjects  from  among 
the  horses  which  he  drove.  He  exhibited  occasionally  at  the 
Academy  and  also  with  the  Society  of  British  Artists,  of  which 
he  was  a  member  from  1 84 1.  His  art  was  very  popular,  and  he 
frequently  received  commissions  from  George  IV.,  the  Duchess  of 
Kent  and  Queen  Victoria. 


HERRING.  JOHN  FREDERICK, 


Landscape* 

The  scene,  which  is  here  depicted,  is  intensely  rustic  and 
pastoral.  To  the  left  stands  a  wooden  outhouse  with  thatched 
roof,  perchance  used  as  a  milking  shed,  for  the  cattle  have 
gathered  round  it,  as  if  at  home  there.  In  the  distance,  beyond 
an  old,  broken  down,  wooden  fence,  may  be  seen  a  haystack, 
while  around  it  the  tall  trees  raise  their  tops  heavenward.  In  the 
foreground  three  horses  stand,  seemingly  in  confabulation.  Almost 
under  their  feet,  and  perched,  too,  upon  a  wheelbarrow  near  at 
hand,  the  hens  and  chickens  are  busy  picking  for  their  food,  while 
beside  a  dark  pond  there  loiter  a  number  of  ducks,  all  evidences, 
that  the  farmer's  house  is  not  far  distant.  To  the  right  the  land, 
presenting  different  tones  of  green  and  brown,  stretches  for  miles 
in  almost  unbroken  view.  The  background  of  the  sky  is  pale 
cerulean,  almost  concealed  by  the  masses  of  gray  cloud,  touched 
here  and  there  with  white. 

Size  24>^xI8. 

From  the  collection  of  T.  W.  Woodhouse,  Esq.,  of  Wolver- 
hampton, England. 


Vincent*  George^ 

1796 -1830. 


Belonged  to  the  Norwich  School,  in  which  he  may  be  said  to 
have  occupied  the  fourth  place  after  Crome,  Cotman,  and  Stark. 
In  1 8 14  he  first  contributed  to  the  Royal  Academy,  in  which  he 
occasionally  exhibited  until  1823.  He  rarely  introduced  trees  or 
foliage  as  the  principal  objects  in  his  pictures,  and  in  his  later 
works  preferred,  like  Constable,  to  depict  subjects  seen  under  the 
bright  sun,  using  large,  soft  masses  of  grayish  shadow,  touched 
with  the  solar  rays. 


VINCENT.  GEORGE, 


Landscape* 


Through  the  soft  windy  clouds  of  an  English  sky  the  sun  is 
breaking,  and  lights  up  the  peaceful  expanse  of  green  pasture  to 
the  left  of  the  picture.  In  the  foreground  a  group  of  cattle  are 
grazing  by  the  borders  of  a  quiet,  rush-edged  stream,  their  dark 
forms  reflected  in  its  clear  depths.  To  the  right  a  grove  of  trees 
partially  encloses  an  ancient  ruin,  through  which  the  sunlight 
streams,  wheresoever  it  can  find  a  convenient  aperture.  Every- 
thing is  suggestive  of  pastoral  content  and  unbroken  peace. 


Painted  in  J  83 1  and  signed. 

From  the  collection  of  A.  W.  Dunn,  Esq.,  of  Liverpool,  England. 


Size  20 X  14^. 


> 

(- 
> 


Vincents  George^ 

Continued. 


VINCENT.  GEORGE, 


Lcith  Harbor^ 


Within  the  harbor,  upon  the  green,  wind-ruffled  water  move 
many  small  rowboats,  some  bearing  supplies  to  the  larger  crafts, 
which,  with  sails  spread,  are  anchored  beside  the  quay.  To  the 
right  is  the  unbroken  masonry  of  the  fortress,  solid  and  grim; 
upon  the  flagstaff  the  Union  Jack  is  unfurled  to  catch  the  breeze. 
In  the  distance,  high  above  the  masts  of  the  ships,  is  visible  a 
portion  of  the  town,  the  soft  gray  smoke  rising  from  the  chimneys 
against  a  cloud  of  darker  tone.  The  center  of  the  picture,  both 
in  sea  and  sky,  is  bright  with  the  glow  of  sunshine,  and  the 
picturesque  figures  of  the  sailors,  who  man  the  boats,  and  of  the 
group,  who  stand  upon  the  quay  looking  down  upon  the  waters, 
add  many  an  effective  touch  to  the  picture. 


Size  37-)^  x29^. 


I 


Verboeckhoven^  Eugene  Joseph^ 

June  8,  1798 -January  19,  1881. 


Was  taught  design  and  modeling  by  his  father,  Verbocck- 
hoven,  the  sculptor.  Long  after  beginning  work  as  a  painter,  he 
continued  to  model  animals  in  clay,  and  to  this  practice  may  be 
attributed  much  of  his  correct  rendering  of  animal  life  in  his 
pictures.  Dogs,  horses  or  cattle,  painted  with  a  landscape  for  a 
background,  were  his  favorite  subjects,  and  in  this  he  followed  the 
example  of  Potter  and  Ommeganck  of  the  Dutch  School. 


VERBOECKHOVEN.  EUGENE  JOSEPH, 


This  characteristic  little  picture  represents  a  rustic  group.  In 
the  foreground  an  old  ewe,  with  heavy  fleece,  watches  over  her 
two  Iambs  as  they  doze  placidly.  In  the  background  is  seen  a 
goat,  contentedly  chewing  the  cud.  Upon  this  scene  there  has  just 
stepped  a  red  hen,  who  pauses,  as  if  uncertain  whether  she  may 
be  permitted  to  remain  or  not.  The  green  foliage  and  the  over- 
turned trunk  of  an  old  tree  left  by  the  woodmen,  form  the  back- 
ground to  the  left,  while  to  the  right  the  country  stretches  in 
unbroken  line.  The  intensely  blue  sky,  with  its  light  silvery 
clouds,  adds  to  the  effective  coloring  of  the  picture. 


Size  9}4  x7. 


Bonington^  Richard  Parkcs, 

October  25,  I80I  -  September  23,  1828. 


Studied  in  Paris  at  the  Louvre  and  the  Institute,  and  when 
twenty-one  years  of  age  went  to  Italy.  He  had  already  achieved 
a  reputation  in  France,  but  was  practically  unknown  in  England 
until  1826,  when  he  exhibited  in  the  British  Institution  two  French 
coast  scenes,  which  were  immediately  appreciated.  His  influence 
upon  the  French  School  of  Genre  and  Dramatic  Art  was  very 
great,  almost  equal  to  that  exercised  by  Constable  on  the  French 
School  of  Landscape.  His  works  were  marked  by  their  great 
originality,  by  their  rich  and  pleasing  color,  and  by  their  broad 
masses,  both  of  light  and  shade.  He  excelled  alike  in  oil  and 
water-color,  and  painted  with  equal  grace  and  effect  landscape, 
marine  or  genre  subjects. 


BONINGTON.  RICHARD  PARKES, 


Italian  Landscape. 


It  is  eventide.  A  pale  afterglow  illumines  the  western  sky, 
while  overhead  the  torn  shapes  of  storm  clouds  hover.  The 
country  stretches  onward  for  miles,  a  dark  line  of  almost  unbroken 
evenness.  On  the  distant  horizon  is  seen  the  dim  outline  of  a 
cathedral  city,  still  bathed  in  sunlight.  In  the  foreground  from 
under  the  dark  arches  of  a  bridge  flows  a  river,  its  water  a  bright 
reflection  of  the  sky.  On  the  left  bank  rise  two  trees,  one  a  tall 
pine,  its  tufted  top  a  darker  mass  against  the  dark  clouds;  near 
at  hand,  upon  the  borders  of  the  stream,  a  group  of  peasants  are 
resting,  deep  in  conversation.  Their  costumes  contain  bright 
dashes  of  red,  blue  and  white,  and  relieve  the  prevailing  brown 
lights  of  the  picture.  Beyond  this  group  is  seen  a  cluster  of 
cottages  with  sloping  roofs. 


Size  25^  X  18. 


Landseen  Sir  Edwin,  A* 

March  7,  1 802 -October  I,  1873. 


The  first  years  of  his  life  revealed  an  innate  genius  for 
drawing  and  sketching,  which  was  more  fully  developed  under 
his  father's  teaching.  In  1816  he  entered  the  Royal  Academy  as 
a  student,  having  been  already  represented  upon  its  walls  by  his 
picture,  "  Heads  of  a  Pointer  Bitch  and  Puppy."  In  1 83  J  he  was 
elected  a  full  member  of  the  Academy,  and  reached  the  highest 
rank  in  his  profession. 

"His  skill  endowed  animals  with  something  more  than  instinct, 
sometimes  highly  pathetic,  sometimes  of  the  most  subtle  humor — 
his  power  of  execution  was  dexterous  and  rapid,  the  facile  treat- 
ment of  his  textures,  fur,  wool,  skin,  or  feathers,  unsurpassed,  his 
composition  without  effort,  yet  always  good." 

The  British  School  numbers  among  its  ranks  other  eminent 
animal  painters,  yet  none  possessing  the  poetic  sentiment  and 
subtle  power  of  expression  which  distinguished  Landseer. 


LANDSEER.  SIR  EDWIN,  R.  A. 


The  Dog  Jolly* 


The  extraordinary  ability  of  Landsecr  to  paint  animal  life,  by 
which  he  raised  that  class  of  painting  to  such  high  rank,  is  well 
illustrated  in  this  example  of  his  handiwork.  The  expression  of 
the  dog's  face,  the  glimpse  of  his  red  tongue,  the  right  ear  slightly 
pricked  up,  and  the  turn  of  head  and  eye  are  all  indescribably 
true. 

The  following  extract  from  a  letter  from  Sir  Edwin,  which 
accompanies  this  painting,  will  be  of  interest:  "Given  to  dear 
Eliza  Prickett  by  her  devoted  and  dearly  attached  friend,  E.  Land- 
seer,  who  takes  this  opportunity  of  thanking  her  with  his  whole 
heart  for  her  unceasing,  endless  kindness  during  his  long  and 
painful  illness.  Her  dog,  named  Jolly,  has  also  been  a  faithful 
companion.    E.  L." 


Size  2J  X  17. 


o 


o 

r~ 
< 


Inman^  Hcnry^ 

J802-J846. 


Born  at  Utica,  New  York.  Practiced  as  a  portrait  and  landscape 
painter  in  New  York  City,  where  he  rapidly  attained  eminence. 
He  was  equally  successful  in  Philadelphia,  where  he  afterwards 
settled.  He  visited  Europe  in  the  year  1845,  and  painted  the 
portraits  of  many  English  celebrities. 


INMAN.  HENRY, 


Portrait  of  Mrs.  J.  W.  Wallack. 


The  strong  light,  which  is  centered  upon  the  figure  in  this 
picture,  seems  to  intensify  the  contrast  between  the  white  tones  of 
the  gown  and  the  brilliancy  of  the  flesh  tints,  and  between  the 
black  cloak  and  its  collar  of  ermine.  The  expression  of  the  face 
betokens  decision,  the  mouth  is  small  with  curved  lips,  the  chin 
pointed,  while  the  dark  hair  is  parted,  somewhat  severely,  above  a 
square  forehead.  The  background  is  dark,  but  the  artist  has 
introduced  here  and  there  a  touch  of  vermilion,  which  adds 
effective  color  to  the  picture. 


Exhibited  in  the  Retrospective  Collection  at  the  World's  Colum- 
bian Exposition,  1893. 


Size  30x25. 


Dawson*  Henry, 

J 8n -December,  1878. 


The  early  years  of  this  artist  were  spent  in  Nottingham, 
where  he  combined  the  two  arts  of  lace  making  and  landscape 
painting.  Encouraged  by  the  support,  which  he  had  received,  he 
gave  up  the  former  in  1835,  and  devoted  himself  entirely  to  the 
latter,  removing  in  1844  to  Liverpool,  where  his  reputation  grew, 
and  he  received  higher  prices  for  his  pictures.  In  1849  he  settled 
in  Croydon,  and  thereafter  produced  some  of  his  finest  work. 
With  the  exception  of  a  few  lessons  from  Pyne,  Dawson  was 
entirely  self-taught,  but  his  art  reveals  much  originality,  and  pre- 
vents him  from  ranking  as  an  imitator  of  Turner,  ahhough  in 
later  life  he  was  influenced  somewhat  by  that  artist's  methods,  and 
endeavored  to  obtain  those  brilliant  effects,  which  are  thoroughly 
Turneresque.  His  work  was  comparatively  little  known,  except 
to  artists  and  connoisseurs,  until  the  year  of  his  death,  when  the 
Nottingham  Exhibition,  with  its  large  collection  of  his  pictures, 
brought  him  wider  fame. 


DAWSON.  HENRY, 


Landscape* 


Against  a  sky  of  pale  ethereal  blue,  flecked  with  white,  rises 
the  heavy  foliage  of  three  lofty  trees.  Under  their  shade  a  group 
of  boys  are  playing,  two  of  them  seemingly  intent  upon  a  game 
of  marbles.  Behind  them  a  roughly-finished,  wooden  door  leads 
to  the  cottages,  whose  red  tiled  roofs  may  be  seen  above  it.  In 
the  immediate  foreground  the  grass  is  worn  away  in  patches,  as 
if  by  the  assiduous  frolics  of  children,  two  of  whom  stand  with 
faces  turned  away,  watching  a  little  lass  in  red  pinafore,  who  dis- 
appears down  the  narrow  stile  path,  leading  to  the  fields,  which 
stretch  in  the  far  distance.  Upon  the  horizon  rise  the  white  wings 
of  two  windmills,  quiet  now  in  an  atmosphere  unstirred  by  any 
zephyr.  Upon  the  left  of  the  picture  long  shadows  are  cast  by 
the  afternoon  sun  upon  the  wall,  adorned  with  samples  of  the  bill- 
sticker's  art. 


Size  30x25^. 


Mueller,  William  James^ 

I8J2- September  8,  1845. 


A  landscape  painter  whose  brief  career  was  crowned  with  the 
laurel  of  success.  He  exhibited  in  the  Academy  in  1833^  and  by 
his  visits  to  Germany,  Switzerland,  and  Italy,  and  later  to  Greece, 
Egypt,  and  Lycia,  enriched  his  portfolio  by  a  large  number  of 
most  interesting  sketches,  which  bore  the  impress  of  his  originality. 
He  painted  in  a  simple  and  broad  style,  enriched  by  a  livley 
imagination  and  distinguished  by  rich,  glittering  color  and  facile 
grouping  of  characteristic  figures. 


MUELLER.  WILLIAM  JAMES, 


A  View  in  North  Wales* 


Against  a  sky  of  deep  indigo  tint,  with  light  floating  clouds, 
rises  high  a  heavy  mass  of  foliage  in  mingled  tones  of  green. 
Below  is  seen  a  mountain  torrent,  as  it  frets  its  way  onward  over 
its  rocky  bed.  As  the  water  whirls  and  foams,  it  leaves  bare 
many  of  the  higher  boulders,  which  stand  out  in  strongly  contrasted 
colors.  In  the  foreground  a  woman  and  a  boy,  clad  in  rustic 
garb  of  many  a  vivid  shade,  add  a  touch  of  life  to  the  scene. 


From  the  Baring  Collection. 


Si2e  36x28. 


Mueller*  William  James, 

G^ntinued. 


MUELLER.  WILLIAM  JAMES, 


Landscape* 


Upon  the  calm,  sunlit  surface  of  a  mountain  lake,  bordered 
with  sedges,  floats  a  quaint,  red  roofed  houseboat,  the  curling 
smoke  rising  from  its  funnel.  To  the  left  a  group  of  trees  glint 
and  glimmer  with  the  glory  of  the  sunlight,  which  streams  through 
a  pass  in  the  distant  mountains,  while  the  peaks  themselves  are 
crowned  with  circling  clouds  of  purple  mist,  yet  gleam  with  gold 
upon  their  sloping  sides.  Near  the  border  of  the  lake,  half  hidden 
by  a  group  of  trees,  rise  the  ruins  of  a  castle,  which  add  a  touch 
of  romance  to  the  scene. 


Size  42i<x24. 


Healy^  George  P.  A* 


July  15,  1813-June  24,  1894. 

Was  born  in  Boston,  Mass.  Early  in  life  he  manifested  strong 
artistic  tendencies,  which  he  cultivated  by  every  means  in  his 
power.  He  studied  in  Paris  in  the  atelier  of  Baron  Gros,  exhibited 
in  the  Salon,  receiving  a  gold  medal  in  J  840  from  Louis  Philippe 
for  his  portrait  of  Mrs.  Cass,  wife  of  the  American  Minister, 
General  Cass,  and  another  from  Napoleon  at  the  Universal  Exhi- 
bition of  J  855  for  his  historical  picture  of  Franklin  before  Louis 
XVI.*'  He  obtained  sittings  from  Louis  Philippe,  who  later  com- 
missioned him  to  paint  the  portraits  of  leading  American  statesmen. 
Among  the  number  were  General  Andrew  Jackson,  Henry  Clay, 
John  Quincy  Adams  and  Daniel  Webster.  The  Revolution  of 
J  848  resuked  in  Mr.  Healy's  departure  from  Paris,  but  after  some 
years  spent  in  Chicago,  he  returned  to  Europe  in  J  867,  and  once 
more  made  his  home  in  Paris.  He  painted  the  portraits  of  many 
well-known  and  distinguished  persons,  notably  "Carmen  Sylva,'* 
Queen  of  Roumania,  Pope  Pius  IX,  Thiers,  Gambetta,  and  Bis- 
marck, Longfellow  and  the  Abbe  Liszt.  He  returned  to  Chicago 
in  February,  1892,  and  made  his  home  there  until  his  death 
in  1894. 


HEALY.  GEORGE  P.  A. 

Portrait  of  Leander  James  McCormick^  Esq* 

Painted  in  1867. 

Size  47  X  37. 


PORTRAIT  OF  LEANDER  JAMES  McCORMICK  ESQ. 


Watts*  George  Frederick^  R«  A* 

February  23,  1817- 


One  of  the  distinguished  masters  of  the  English  School.  Was 
elected  an  Associate  of  the  Royal  Academy  in  1867,  and  an 
Academician  shortly  afterwards.  With  steps  of  unusual  rapidity 
he  attained  the  highest  honors  of  his  profession,  and  his  position 
has  remained  unassailed  ever  since.  He  still  works  on,  not  alone 
perfecting  his  earlier  work,  but  ever  developing  new  interests  and 
new  powers.  His  landscapes  have  been  few  and  far  between, 
but,  like  his  other  pictures,  they  are  characteristic,  almost  unique. 
His  works  of  imaginative  art  are  of  great  force  and  dignity; 
many  of  his  conceptions  are  striking  in  their  originality,  clinging 
in  no  way  to  old  ideas,  except  when  these  are  in  accordance  with 
his  own  sense  of  essential  truth.  In  his  portraits  he  has  shadowed 
forth  the  special  and  peculiar  characteristic  of  the  one  whom  he 
has  depicted,  and  has  thus  reproduced  not  form  and  feature  alone, 
but  character  and  nature. 

"  'Whatever  stirs  this  mortal  frame,*  whether  passions  high 
and  low,  beauty  or  intellect,  religion  or  philosophy,  these  have  ever 
been,  and  still  are,  the  true  objects  of  his  art." 


WATTS.  GEORGE  FREDERICK,  R.  A. 


Mrs*  Prinsep* 


The  portrait  is  Madonna-like  in  expression,  yet  strongly  indi- 
vidual. The  blue  eyes,  so  deeply  set,  in  no  way  belie  the 
character  of  the  mouth  with  its  curved  upper  and  full  under  lip. 
The  hair,  of  a  dark  auburn,  is  parted  above  the  forehead,  then 
brought  down  to  rest  upon  the  back  of  the  neck,  which  rises  like 
a  pillar  from  the  dark  folds  of  the  bodice.  A  scarf  of  rich  Titian 
red,  thrown  loosely  over  the  shoulders,  intensifies  the  warm  coloring 
of  this  picture. 

Mrs.  Prinsep  was  a  sister  of  Countess  Somers,  and  aunt  of 
Lady  Henry  Somerset. 


GEORGE  FREDERICK  WATTS,   R,  A,  | 

I 


MRS.  PRINSEP. 


Mason*  George  Hemming^  A*  R»  A» 

I8I8- October  22,  1872. 


Studied  for  the  medical  profession,  but  abandoned  it  for  art  in 
1844.  Traveled  on  the  Continent,  and  finally  settled  at  Rome. 
Returned  to  England  in  1857,  and  contributed  to  the  Academy 
until  the  time  of  his  death.  He  was  elected  an  Associate  of  the 
Royal  Academy  in  1868.  His  early  Roman  scenes  are  powerful 
and  full  of  rich  color,  the  climate  finely  studied.  His  English 
scenes  are  equally  excellent  as  studies  of  climate,  tender  in  mists 
and  full  of  sweet  poetry. 


MASON.  GEORGE  HEMMING,  A.  R.  A. 


Spring  Ploughing* 


In  the  foreground  of  the  picture  may  be  seen  the  farmer,  as 
he  guides  his  horses,  one  black,  one  gray,  and  breaks  up  the 
fallow  ground.  In  the  distance  stretch  the  fields,  their  rich  brown 
loam  showing  that  the  plough  has  already  done  its  work,  and  the 
meadows  with  their  tender  green,  giving  the  promise  of  abundant 
pasturage. 

Upon  the  horizon  indistinct  masses  of  trees  rise  against  the 
light  strip  of  sky,  darkly  shadowed  by  heavy  clouds,  which  speak 
of  the  spring  showers,  which  shall  come  down  upon  the  thirsty 
ground.  The  whole  picture  is  a  marvelous  harmony  of  browns 
and  greens,  touched  here  and  there  with  a  lighter  tone  of  golden 
yellow  or  brighter  green. 


Size  32  X  \4}i. 


Seaman.  Emery, 

April,  1822  -  April,  1865. 


Was  born  in  Philadelphia,  and  when  nineteen  years  of  age 
visited  Italy  for  the  study  of  his  profession.  He  spent  much  of 
his  time  in  Massachusetts,  and  in  the  Boston  Directory,  1848-9, 
may  be  found  the  name,  "Emery  Seaman,  artist,  138  Hanover.** 
His  works  show  that  he  was  strongly  influenced  by  Chester 
Harding,  with  whom  he  was  connected  by  the  marriage  of  his 
sister,  Julia,  with  Spencer  Harding.  His  career,  so  full  of  promise, 
was  hindered  by  his  indifferent  health  and  cut  short  by  his  early 
death,  but  his  works,  many  of  them  children's  heads,  are  graceful 
and  show  marked  ability. 


SEAMAN.  EMERY, 

Portrait  of  Daniel  Webster* 

Formerly  in  the  possession  of  the  Webster  Society,  Boston. 


DANIEL  WEBSTER. 


WillcQck*  George  Barrett* 


WILLCOCK.  GEORGE  BARRETT, 


A  Thunderstorm  at  Hampstead  Heaths 


To  the  left  of  this  landscape  the  heavy  storm  clouds  hang 
low,  adding  a  lurid  tone  to  the  trees.  Through  a  rift  in  the 
clouds  the  sunlight  streams,  and  falls  upon  a  herd  of  cattle,  as 
they  are  driven  across  the  heath.  Its  brilliancy  is  reflected  also  in 
the  calm  pool,  bordered  with  bulrushes,  which  lies  to  the  left  of 
the  picture.  To  the  right  stretches  a  broad  expanse  of  wooded 
country,  shadowed  by  the  storm,  while  in  the  farther  distance  the 
tempest  seems  to  have  spent  its  force,  the  sky  has  cleared,  and  the 
hills  and  valleys  are  bathed  in  sunlight. 

Size  I8>^xI2>^. 

Painted  in  1 851.  Exhibited  in  the  British  Institution  in  1852. 
One  of  the  works  of  this  artist  was  purchased  in  1893  by  the 
British  National  Gallery. 


Autograph  Letter, 


In  the  possession  of  R.  Hall  McCormick,  Esq. 

Washington,  20th  April,  1842. 

My  Dear  Sir: 

I  have  received  by  your  nephew  your  obliging  letter,  and 
request  your  acceptance  of  my  cordial  thanks  for  the  friendly 
sentiments,  which  you  have  done  me  the  honor  to  convey  in  it. 
Your  nephew  also  delivered  me  the  cane,  which  you  have  done 
me  the  favor  to  present.  Its  length  exactly  suits  me,  and  for  so 
beautiful  and  acceptable  a  testimonial,  I  tender  my  grateful 
acknowledgments. 

The  noble  enterprise  of  founding  a  Mechanics'  Institute,  which 
you  have  in  view,  is  worthy  of  your  name,  and  honorable  to  your 
patriotism  and  opulence.  I  offer  my  best  wishes  for  its  success 
and  usefulness. 

*Mr.  Francona,  at  the  instance  of  your  liberality,  has  made  a 
portrait  of  me,  which,  as  far  as  I  can  judge,  is  a  good  likeness. 
He  has  succeeded  in  some  features,  in  respect  to  which  most  of 
the  artists  have  failed. 

I  pray  you  to  accept  assurances  of  the  high  respect  and 
esteem  of 

Your  grateful  friend  and 

Obedient  Servant, 
Hamilton  H.  Jackson,  Esq,  (signed)    H.  Clay. 

*Mr.  Clay  was  evidently  mistaken  in  the  name  of  the  artist, 
as  no  such  name  can  be  found  in  any  record. 


FRANCONA. 

Portrait  of  Henry  Clay* 


FRANCONA, 


HENRY  CLAY 


Printed  for 
R.  Hall  McCormkfc, 
October  MDCCCXCVII, 
by 

A.  C.  McClurg  &  Company, 
Chicago. 


5  3 


GETTY  CENTER  LIBR^RV 

"  T  Mccormick,  Robert  Ha 

catalogue.  Dlographlcal  and  descriptive 


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